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Japanese Cinema in the Digital Age$
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Mitsuyo Wada-Marciano

Print publication date: 2012

Print ISBN-13: 9780824835941

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824835941.001.0001

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The Rise of “Personal” Animation

The Rise of “Personal” Animation

(p.74) 3 The Rise of “Personal” Animation
Japanese Cinema in the Digital Age

Mitsuyo Wada-Marciano

University of Hawai'i Press

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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