Anime as a New Kind of Modern Art

Abstract

The emergence of the art form known as "Anime" has generated numerous myths and misconceptions. This essay aims to differentiate between fact and fiction in relation to Anime, examining its classification as a new art form. The research delves into the historical roots of Anime and conducts a survey among school students to gauge the extent of its popularity and reach.

Introduction

In contemporary times, "Anime" has gained substantial popularity as a distinct art form. The 20th century ushered in a transformation of art, establishing an unbridgeable divide between traditional and modern art, which has since evolved under novel principles. These changes have not only reshaped the content and mode of artistic expression but have also ushered in diverse trends, often discarding prior artistic conventions and challenging the notion of translating innovative concepts into visual form. Art has transcended its historical boundaries, opening up fresh avenues for its evolution. Consequently, the questions arise with unprecedented urgency – what is the purpose of art, why does it exist, and what are its capabilities?

Three significant areas of inquiry pervade the realm of art: ideological and artistic aspects, socio-historical underpinnings, and the national and international dimensions of art. These facets deeply penetrate the annals of art history, coexisting and interplaying in a complex tapestry. The 20th century bore witness to significant events such as the emergence of new forms of artistic expression, the reconfiguration of genre-specific compositions in the fine arts, and the proliferation of international artistic movements, all intertwined with the ideological structure, forms, and functions of art.

Towards the close of the 20th century, Japanese animated art, known as "Anime," started to exert a profound influence. But can we categorize "Anime" as an entirely new art form, complete with its unique style and cultural identity?

History

The inception of Japanese animated films dates back to 1917 when they first appeared. These initial films were brief, ranging from one to five minutes in duration, created by individual artists striving to replicate the early works of American animators, such as "Keeping up with the Joneses," animated by H.S. Palmep and produced by the Gaumont Company in 1915, and European animators, exemplified by "Fantasmagorie," produced by Émile Cohl in 1908.

The earliest Japanese animated film is commonly attributed to 'The Story of the Concierge Mukuzo Imokawa' (original title - 'Imokawa Mukuzo Genkanban no Maki'), crafted in 1917 by Ōten Shimokawa, who sketched on a blackboard and captured his drawings on film. In the same year, Seitarō Kitayama contributed 'Battle of a Monkey and a Crab' (original name: Sarukani gassen), and in 1918, he presented his take on 'Momotarō' (Momotarou), a beloved Japanese folk hero.

Regrettably, none of these early films have survived, underscoring their limited artistic value as pioneering experiments. Today, they primarily serve as historical artifacts, capturing the nascent stages of Japanese animation. During the 1920s, the typical length of a Japanese animated film did not exceed 15 minutes. Most animations of that era were produced in small home studios by individual artists, sponsored by film and rental companies in exchange for distribution rights.

Animators often drew inspiration from Western sources, such as the popular American comic book and animated series 'Felix the Cat,' or they frequently adapted traditional Chinese and Japanese fairy tales, rendering them in both the traditional Japanese artistic style and European influences. Prominent figures from the silent era include Shimokawa, Kouuchi Junichi, Seitarō Kitayama, Sanae Yamamoto, Murata Yasuji, and Noburō Ōfuji, who employed the innovative 'silhouette animation' technique.

Sanae Yamamoto's 'The Hare and the Tortoise' (originally titled Kyoikuotogimanga Usagi to kame) in 1924 stands as one of the earliest surviving Japanese animated films.

Additionally, American animations like "Donald Duck" and "Magician Mickey," featuring the iconic character Mickey Mouse from Walt Disney Productions, enjoyed popularity in Japan during this period. These American animations resonated with Japanese audiences and aligned with the prevailing sentiments of American military influence, making them compatible with Japanese censorship policies.

Since 1937, when Japan became embroiled in the conflict with China, igniting the extensive Japan-China war from 1937 to 1945, comics and animated content witnessed an unprecedented surge in popularity among audiences and readers alike. Recognizing their cultural significance, the government not only coordinated the production of these works but also provided financial support. In a somewhat unrelated development in 1940, the first Japanese science fiction comic book, titled 'Journey to Mars' ('Kasei Tanken'), authored by Noboru Oshiro and Taro Asahi, made its debut. This comic narrated the tale of a young boy embarking on a space journey to Mars, accompanied by a dog and a cat, all within the realm of dreams. The comic was distinguished by its use of three-color printing, intricate depictions of Martians and rockets, and the incorporation of actual moon photographs.

Following Japan's surrender in 1945, the country found itself under the shadow of post-war occupation. In a nation ravaged by the war's aftermath, entertainment options were scarce, leaving cinema as one of the few sources of diversion. Japanese citizens flocked to movie theaters in search of solace.

Japanese animators marveled at the technical prowess exhibited in American films and realized that the future of commercial animation lay in the establishment of large animation studios, mirroring the American model, exemplified by the likes of the 'Walt Disney Studio.'

The inaugural studio of this kind emerged as Nippon Doga in 1946, founded by Kenzô Masaoka and Sanae Yamamoto. Their first animated feature, released in 1947, was 'Kitten Tora-chan' (original title - Suteneko Tora-chan), a creation of Masaoka.

In 1951, Japan signed a peace treaty in San Francisco, marking the end of the occupation era. Throughout the early 1950s, Japanese audiences were treated to screenings of iconic Walt Disney Studios classics such as 'Snow White and the Seven Dwarfs,' 'Bambi,' 'Pinocchio,' 'Cinderella,' 'Alice in Wonderland,' 'Dumbo,' and 'Fantasia.'

Ryuuichi Yokoyama's 'Toei Doga' studio, established in 1955, also gave birth to 'Otogi Production,' a less renowned animation studio at that time.

The earliest full-length films produced by 'Toei Doga' closely resembled their American counterparts, requiring about a year to complete and featuring elaborate adaptations of indigenous folk tales, predominantly Japanese and Chinese, rather than European ones. Some of these films were even released for American audiences but failed to gain traction, causing Japanese animation to virtually disappear from U.S. screens for two decades.

From the outset, it was evident that Japanese animation was charting a distinct course. It bore unique cultural traditions, graphic styles, and narrative elements. Unlike American animation, anime did not adhere to musical traditions; its films were considerably more serious, with narratives that often leaned toward the dramatic.

Inspired by the success of American animated TV series and the growing popularity of Japanese science fiction literature, 'Toei Doga' proposed a fusion of these two realms, launching low-budget Japanese TV animations. These series aimed to captivate audiences not through technical perfection but by offering original and enthralling storylines grounded in science fiction themes.

In 1964, Osamu Tezuka made history by releasing the first full-length animated film in Japan based on a TV anime series, titled 'Astro Boy' (original name - 'Tetsuwan Atomu'). This marked the beginning of an era where a significant portion of Japanese animated productions comprised sequels to beloved TV series, a trend that continued until the 1980s.

In 1969, Toei Doga Studio released two notable Russian films: 'Puss in Boots' and 'Ghost Ship.' Hayao Miyazaki played a substantial role in both films, which have since earned status as classics in Japanese children's cinema.

The 1970s marked a pivotal era in anime history, primarily defined by television series. The format, established by Osamu Tezuka and his colleagues in the early 1960s, consisted of weekly episodes, each lasting approximately 23-25 minutes (or about 30 minutes, including commercials) and airing at a fixed time slot designated by the TV channel. The series' duration was contingent on their popularity, with more favored series enjoying extended runs while less popular ones concluded swiftly. During this decade, it was rare to find series lasting fewer than 20-30 episodes.

The anime audience underwent a transformation, shifting from primarily young children and preteens (around 10-12 years old) to the generation that had grown up with the earliest anime and remained interested in animated content. Consequently, series designed for older teenagers and even adults began to emerge.

Despite these developments, the fundamental genres remained consistent: fairy tales, science fiction, historical legends, and adaptations. Throughout the 1970s, anime saw notable advancements in terms of technical and aesthetic sophistication, with animators enjoying increased resources and funding. Genre boundaries expanded significantly, offering creators greater creative latitude.

The early 1990s witnessed a period of significant stylistic evolution in anime. Productions became increasingly opulent and visually stunning, accompanied by shifts in the sociological makeup of the audience.

A distinctive style characterized by "big eyes," a hallmark often associated with anime, gained prominence during this period. The "kawaii" style, which translates to "lovable," "cute," or "adorable" in Japanese, became a major component of this aesthetic shift, featuring prominently in the form of "big eyes." This transformation notably heightened the personal charm and sensuality of anime characters, normalizing the phenomenon of viewers developing affection for these fictional characters within the anime fandom.

A milestone in anime history occurred in 1992 when directors Satou Junichi and Kunihiko Ikuhara launched 'Toei Animation's 'Pretty Soldier Sailor Moon' (original name - 'Bishōjo Senshi Sērā Mūn'). For the first time, the "Magical girl" genre, or "mahō shōjo," intersected with the "sentai" genre, resulting in a proliferation of magical girl characters engaging in more active combat against a variety of adversaries.

One distinctive feature lies in the author's endeavor to construct an intricate world system that rationalizes the mystical aspects of the narrative.

The latter part of the 1990s witnessed a somewhat contentious phase in the world of anime. On one hand, the burgeoning market allowed animators to explore the most unconventional ideas and narratives. However, the concurrent economic downturn considerably curtailed investments in individual projects, necessitating stringent adherence to budget constraints.

This period also marked a growing interest in computer graphics, previously an overlooked aspect. Small instances of computer-generated imagery (CGI) became commonplace and gradually expanded in prominence.

In the present day, television broadcasts feature the majority of anime series, both those originating in Japan and Europe.

Illustration

For those unacquainted with anime, the hallmark often cited is the characters' disproportionately large eyes. In truth, this stylistic choice draws inspiration from Western animation traditions. Osamu Tezuka, credited as the pioneer of this style, was influenced by characters from American animated films such as Betty Boop, Mickey Mouse, and Bambi. The key distinguishing factor of anime characters isn't necessarily the size of their eyes but rather the meticulous attention to detail in rendering their eyes relative to the rest of their faces. The nose and mouth are typically depicted with a few wavy lines, except when characters are speaking. Nevertheless, there are works that employ a more "realistic" approach, with greater precision in depicting and shading the nose, mouth, cheekbones, and other facial features.

When rendering eyes, light and shadow are often applied simultaneously. The eyes frequently offer insights into a character's overall disposition. Positive, cheerful, and amiable protagonists are often depicted with large, luminous, and lively eyes, while reserved or negative characters tend to have narrower, partially closed eyes, sometimes resembling those of sharp-eyed birds of prey or snakes. Scheming or overtly polite characters may possess "fox-like" eyes, appearing as if they are perpetually smiling. Ordinary characters who exhibit a perpetual desire to sleep may have similar eye shapes. Characters lacking magical influence or even a soul tend to have dull, lifeless eyes devoid of any sparkle. In children, eyes are typically rendered quite large, whereas the elderly (with few exceptions) have smaller eyes with smaller pupils. The presence of sunglasses serves as an additional means of expression, often associated with scholars (as opposed to eccentric geniuses), modest individuals, or otaku enthusiasts.

Anime hairstyles are typically comprised of individual strands, and characters may sport a wide array of hairdos, some quite unconventional in shape and color. Hair, like the details of characters' attire, often adheres to the principles of wind or inertia, moving asynchronously with the character's motions. Initially, hair color served as a means to "individualize" characters, making them distinct from one another. Today, as character designs become increasingly intricate, incorporating meticulous facial features and behavior patterns, multicolored hair is more of a tradition than a necessity. Furthermore, hair color frequently reflects a character's personality. For instance, red hair typically signifies a fiery temperament (e.g., Asuka from "Evangelion" and Lina Invers from "Slayers"). Blonde hair often denotes foreign origin, especially considering the majority of Japanese individuals have dark hair. Bleached hair is sometimes associated with a rebellious or eccentric stereotype. Given that a vast majority of Japanese individuals have dark hair, light-colored hair serves as an effective means for someone to stand out in school or on the streets.

Anime series are typically broadcast on television, with a weekly release schedule. These series are created by a team comprising a scriptwriter, director, designer, and several dozen animators. To meet broadcasting deadlines without sacrificing quality, they employ techniques known as "limited animation." These techniques encompass the redrawing of specific elements while preserving the remainder of the frame, static backgrounds, and simplified methods for conveying emotions.

The portrayal of emotions in anime warrants separate discussion. In addition to conventional methods such as changes in facial expressions and alterations in tone of voice, several other techniques come into play. Emotions can be depicted in an exaggerated, hypertrophic manner. Characters may speak with their eyes closed to convey strong sentiments or take on a demonic appearance when expressing anger. In comedic situations, symbolic pictograms like "sweat droplets" or "swollen veins" often appear over a character's head or in the frame above them to emphasize the lightheartedness of the moment.

In addition to the conventional style, there exists a popular "chibi" or "super-deformed" (SD) style, characterized by simplified depictions of characters with disproportionately large heads and diminutive facial features. This style is typically employed in comedic contexts, infusing scenes with a sense of levity and parody. However, entire series may adopt this style, using it to garner affection for the "small and endearing" main characters. For example, in the comedy series "Yamato Nadeshiko Shichi Henge," the protagonist spends the majority of screen time in her chibi form, creating the impression that she is completely detached from reality. Meanwhile, other characters, being more grounded, are depicted in a more conventional manner.

AnimeNation analyst John Opplinger highlighted that the visual depiction of characters enables viewers to instantaneously gauge their significance within the narrative. He also noted that while many anime series featuring memorable characters designed by renowned artists may have instances of subpar execution, other series with less distinct character differentiations have achieved remarkable popularity. Opplinger posited that, although character design as a whole evolves over time to cater to changing audience preferences, truly unique appearances remain relatively rare.

History of Manga

The term 'manga' carries a multifaceted meaning. It encompasses political cartoons in newspapers and Japanese illustrated narratives that have gained global popularity. However, for the Japanese, manga primarily refers to comics.

A manga creator is known as a 'mangaka.' Typically, a single individual (sometimes with assistants) both draws the artwork and writes the accompanying text for comics, although collaborative efforts do exist. Nonetheless, manga typically involves no more than three or four contributors, allowing for greater artistic coherence and personal earnings. In addition to professional manga, there is a realm of amateur manga known as 'Doujinshi.' Many mangakas embarked on their creative journeys by starting with Doujinshi ('同人誌'). Large cities often host specialized markets where Doujinshi creators can showcase their works, occasionally catching the attention of established publishers.

The most coveted manga works are published in book format, often as series comprising 10 to 20 volumes, with distribution spanning the entire country, numbering in the tens of millions. Some of the most outstanding manga series serve as the basis for sprawling animated adaptations. Nearly all manga is presented in black and white, a practice influenced by traditional Japanese artistry and a means of cost reduction.

It's essential not to conflate manga with 'manhwa' and 'manhua.' 'Manhwa' (만화) originates from Korea, while 'Manhua' (張曼華) hails from China. These terms share similar characters due to their linguistic connection, but they refer respectively to Korean and Chinese comics. In Korea, 'manhwa' encompasses both comics and animated series, a distinction rarely made outside of the country. On the other hand, 'manhua' includes comic publications from China, Taiwan, Hong Kong, and translated versions of Japanese manga.

Manga represents a cultural and artistic phenomenon, offering a unique space for creativity that surpasses many other forms of media. It occupies a distinctive place in the artistic landscape, falling somewhere between media such as cinema, music albums, literature, and television. Manga sets itself apart from Western comics, even though it evolved under Western influence. The narrative structure and framing of panels differ significantly. In terms of visuals, manga emphasizes line quality over shape, enabling a wide range of styles from photorealistic to grotesque. While large eyes are often associated with manga, it's not their size that's crucial but the intricate detailing and attention given to the eyes relative to the rest of the face. Osamu Tezuka, mentioned earlier, was one of the pioneers of this stylistic approach. Another notable aspect is that manga is read from right to left, mirroring the traditional Japanese writing format, with hieroglyphic columns arranged accordingly.

Serial publication in periodicals is a defining characteristic of manga. In Japan, manga is rarely published directly as books. Instead, it first appears in serialized form, with each installment comprising 20 to 30 pages, either as standalone issues or within magazines. Afterward, depending on its success, the manga is collected and published as a book. This practice contributes to the ubiquity of manga serializations. Popular series may continue for several years, spanning numerous volumes when eventually compiled for book release, as seen in works like "Ranma 1/2" and "Dragon Ball."

Today, manga stands as a versatile and all-encompassing visual medium, offering a vast array of genres and forms. It spans from humorous tales and melodramas to science fiction and thought-provoking literary works, travelogues, educational guides, and much more.

Conclusion

In conclusion, anime undeniably emerges as a contemporary art form. It exerts a profound influence across various spheres of 21st-century art, distinguished by its innovative character. What sets anime apart is its fusion of Eastern and Western cultural elements, forging entirely new aesthetic ideals. Anime captivates with its vivid color palette, intricate plot psychology, fantastical realms, unexpected twists, but most notably, its faithful portrayal of characters and their emotions, making them feel truly alive. The skills of the artists and the psychological insights of the creators are nothing short of impressive.

References

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