What is animated cinema — 70 years of the Japanese feature film's lineage
Japanese animated cinema has two origins. The first is Toei Doga, founded in 1956 with the ambition of becoming "the Disney of the East." Its film The Tale of the White Serpent (1958) was Japan's first color animated feature, and it was also the work that led a still-teenage Hayao Miyazaki to want to devote himself to animation. At that studio there already worked, as part of the in-between team, Yasuo Otsuka, who had joined the company in the year of its founding. The second origin is Mushi Production, Osamu Tezuka's company. After consolidating the format of the television series with Astro Boy (1963), its people gradually moved over time toward the feature film. On the opening day of the film version of Space Battleship Yamato (1977), queues formed that spent the night in front of the cinemas: it was the first time it became visible on a large scale that animation had become the culture of an entire generation. One film calls to the next generation, and that generation trains the one after. The history of Japanese animated cinema is the accumulation of that chain.
From person to person — a lineage passed on
The animation director of The Castle of Cagliostro (1979), Hayao Miyazaki's debut as a feature director, was Yasuo Otsuka, his colleague since their Toei days. More than three decades later, another cinematic installment of that same Lupin III, the series Lupin the IIIrd, would bear the signature of Takeshi Koike. Koike is an animator who emerged from Madhouse, trained alongside Yoshiaki Kawajiri, and belongs to a lineage distinct from Otsuka's. The current that comes from Toei and the one that springs from Madhouse, heir to Mushi Production: the two origins of Japanese animation cross, half a century later, in a single cinematic installment of Lupin. For his part, Satoshi Kon worked as an assistant to the mangaka Katsuhiro Otomo. He cut his teeth alongside Otomo during the years AKIRA was being serialized and, after joining animation production with Roujin Z (1991), would make his directorial debut with Perfect Blue. In Millennium Actress he portrayed the very history of Japanese cinema through the memories of an actress; the work received in 2001 the Grand Prize of the Animation division of the Japan Media Arts Festival, alongside Hayao Miyazaki's Spirited Away. Mamoru Hosoda's trajectory illustrates this crossing of lineages well. He began as a director at Toei Doga (today Toei Animation), came to be at the helm of Howl's Moving Castle at Ghibli, then directed The Girl Who Leapt Through Time and Summer Wars at Madhouse, and in 2011 founded Studio Chizu. Mirai (2018) was the first Japanese animated feature outside Ghibli to be in the running for the Academy Award for Best Animated Feature.
Toward the world — 1988 and 1995
There are two years that mark the moment when this lineage influenced cinema all over the world. In 1988, Katsuhiro Otomo directed the adaptation of his own manga AKIRA himself. The Neo-Tokyo he drew, of an overwhelming density of animation, made an impact on foreign audiences and remains a constant reference in later science-fiction imagery. And then 1995. In October, the television broadcast of Neon Genesis Evangelion began, which became a social phenomenon and led to the film The End of Evangelion (1997). In November, Ghost in the Shell premiered, the adaptation Mamoru Oshii made of Masamune Shirow's manga, which would leave a deep mark on Hollywood science fiction. That same 1995 also saw the release of Toy Story, the world's first feature made entirely by computer. The year in which hand-drawn animation reached one of its peaks was also the year the digital era began.
The digital century — Makoto Shinkai
The author who symbolizes that digital era is Makoto Shinkai. Coming from the world of video games, Shinkai made in 2002, almost single-handedly and by digital means, the roughly 25 minutes of Voices of a Distant Star, and entered animated cinema from outside the usual studio lineage. Your Name (2016) surpassed 25 billion yen in box-office takings, the first animated film outside Ghibli to reach that scale. The twenty years that run from an author who began making films all on his own to becoming a mass author are also the twenty years in which digital production came to occupy the center of animated cinema.
Storyboards and art books — in what form to leaf through history
All the history above remains, in book form, on this shelf. The storyboard (continuity book) is the director's blueprint: the place where the framing, the dialogue and the timing were first fixed on paper. Read after having seen the finished film, it lets you follow each one of the staging decisions. The storyboard series of Makoto Shinkai (KADOKAWA) and those of Satoshi Kon (Fukkan.com) are their best example. The art and background books gather in large format the background art and the key images; the original-animation books (Look Back, Ghost in the Shell) record the very pencil stroke of the animators; and the official visual guides, with setting material and interviews, are a gateway into the world of each work. Of one and the same film, depending on the form of the book, something different is seen.
Toward a history of animated cinema you don't yet know
All the books in this category are original Japanese editions. Miyazaki and Ghibli, Katsuhiro Otomo and Evangelion each have their own category. What we have gathered here is the history that unites them: Satoshi Kon, Mamoru Oshii, Mamoru Hosoda, Makoto Shinkai and the Lupin lineage. Seventy years since Toei Doga: here is a history of animated cinema you don't yet know.