The Rise of “Personal” Animation
The Rise of “Personal” Animation
This chapter examines how technological developments in media have shaped Japanese anime production and stylistic diversity, primarily as matters of production scale and targeted audience. It first considers the problem of how anime has been discursively constructed largely upon notions of intrinsic cultural differences outside Japan before discussing anime in light of its affinity with media convergence. It then turns to the animations of Shinkai Makoto and Yamamura Koji as examples of the smaller, personal scale of production in Japanese animation, now possible through home-based digital technology. It also explores the stylistic diversity of experimental realism as seen in the work of Oshii Mamoru. It shows that Japanese anime sustains its attraction through risk-taking challenges by deploying a variety of visual media or their concepts such as drawings, photos, computer-generated imagery (CGI), and paper theater (kamishibai).
Keywords: anime, stylistic diversity, media convergence, animation, Shinkai Makoto, Yamamura Koji, digital technology, experimental realism, Oshii Mamoru, visual media
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