[a / b / c / d / e / f / g / gif / h / hr / k / m / o / p / r / s / t / u / v / vg / vr / w / wg] [i / ic] [r9k] [s4s] [cm / hm / lgbt / y] [3 / aco / adv / an / asp / biz / cgl / ck / co / diy / fa / fit / gd / hc / his / int / jp / lit / mlp / mu / n / news / out / po / pol / qst / sci / soc / sp / tg / toy / trv / tv / vp / wsg / wsr / x] [Settings] [Home]
Settings Home

File: 1366153037824.png (277.97 KB, 706x412)
277.97 KB
277.97 KB PNG
*Repost as the main topic is know 404'ed*
Has someone ever tried to break down anime history into eras? Or somebody ever tried to pin down trend setters and genre starters?

You know, the same way everyone in /m/ knows how the trend went from super mecha shows with Tetsujin and Mazinger to military mecha with Gundam and Macross and basically stayed there aside from the occassional Eva?

Or how it went Superman=Golden Age->Fantastic 4/Spider-man=Silver Age->Watchmen/Dark Knight Returns=Dark Age->Kingdom Come=Modern Age

It's truly amazing how many people into Anime today seem to think that it all started about a year before they got involved in the hobby. Many will, however, tell almost identical stories about dim childhood memories of (depending on how old they are) Astro Boy, Speed Racer, Marine Boy, Gigantor, Robotech, or Star Blazers. Others wandered into a comic shop and discovered to their utter amazement that there was an Akira MOVIE to go along with their comics. Still others fell in love with Ken Ichi Sonoda's manga (Japanese for comics) style, and had their eyes pulled out of their sockets by the animated Bubblegum Crisis. There are even people now who discovered the medium when someone they knew told them about the Ranma f dubs, or accidentally tuned in the Science Fiction Channel one Saturday morning ... something that was unthinkable only a few years ago.

The real history of the medium is frequently chaotic and bizarre (as is the medium itself), and to cover it in depth would take hundreds of pages (I've been threatening for years to write such a book), but that's not the function of this primer. My goal is merely to give you, the reader, an idea of what happened and when. Significant events have been left out of this (I'm not even going to think about documenting the politics of early US fandom or the recent Evangelion debacle), and portions of the text presented here are based on rumor and conjecture. The event sequence is bunched up around the middle, and there are times when so many things are happening at once that it became difficult to limit the narrative to a half dozen threads or so. I feel that this does, however, give a reasonable account of the tumultuous history of this medium.
The Very Beginning (Osamu Tezuka)
File: lupin 72 a.jpg (17.28 KB, 640x480)
17.28 KB
17.28 KB JPG
I will start off with the history of TMS' Telecom unit.

Part 1, 1975-1977: The early years.
Telecom was founded on May 19 1975 as a why TMS can compete in western markets as US animation was starting to get to expensive & limited (Hanna Barbera starting outsourcing to Wang in 1978, DePatie Freleng tried to outsource to Spain around in 1972 but the animation came back so bad that they stopped outsourcing to Spain, later in the 70s by 76'ish they asked one of their animators Nelson Shin who was Korean to open up some studios in South Korea and that he did, the studios merged in 1985 into Akom, and Filmation went out of business in 1989 because they did not outsource); At first no one was using the studio and TMS was changing the studio's layout, A-Productions split off from TMS and became Shin-Ei Doga in 1976 making Telecom A-Pro's replacement, Keiko Oyamada & Atsuko Tanaka & Yasuo Otsuka came from A-Pro to Telecom because they were going to get more money (but for Otsuka's case, he just wanted to work on Lupin), by 1977, Telecom worked on Obake Chan which barely anyone knows about, but after them they starting working on Lupin III series 2, the first episode they did was episode 72 which came back so bad that Otsuka redid almost the whole thing himself and fired the animators who did the episode, said animators later found work at Studio Gallop; Fujioka & Otsuka later picked up some Ex-Oh Production staff (Kazuhide Tomonaga) and Ex-Nippon-Animation staff (Nobuo Tomizawa) included Pre-Ghibli Isao Takahata & Hayao Miyazaki, their first original made for Telecom director was Saburo Hashimoto, Telecom whent on to do Lupin III series 2 episodes 77, 82, 84, 99 & 105, after that they went on to do Cagliostro (that will be in part 2).
Japanese Animation started around the time as US animation around in the 1910s, theres a DVD set of said Pre-Atom anime out there, I will give you a link about some of them.
File: Cagliostro-Movie-Poster.jpg (343.20 KB, 855x1200)
343.20 KB
343.20 KB JPG
Part 2: 1978-1981, Cagliostro.
After said episodes of Lupin series 2 were done with Telecom went on to do Cagliostro, Fujioka picked Miyazaki to do Cagliostro and he softed Lupin to match his standers and made the movie his way, the movie failed at it's 1979 release but ended up doing well later on in it's life; After Cagliostro Telecom went on to do Lupin episodes 143, 145, 151, 153 & 155; 145 & 155 were done by Miyazaki himself, and then 2 big things happen, Telecom started the Nemo project (started in 1978) and the Ulysses 31 pilot, Fujioka wanted a movie to be big in the US as it will be in Japan so they give Telecom Nemo, when with the Ulysses 31, Dic though the project was to Japanese and moved production to the main Tokyo Movie unit were Shingo Araki take over production, on the pilot, it was at first led by Tadao Nagahama but he died during production so Nobuo Tomizawa take over his unit & became a director, Miyazaki & Takahata also had a hand on the Ulysses 31 pilot as Key Animators.

Filmation also outsourced Zorro to Telecom because the studio was full but since Telecom hated it and that Filmation did not give them alot of money (Zorro was 2x the budget of a normal Filmation show as Telecom's staff got payed more then Filmation's staff), TMS said that "Everything we do for the US, we must have say on it" (this will come in a big roll in the Disney & Warner Bros eras later on), and since TMS (and 90% of Filmation's staff at the time) hated it/working at Filmatiom, Filmation stopped outsourcing and did every other show themselves after Zorro, The Telecom Animation Directors on Zorro were Hayao Miyazaki, Isao Takahata, Nobuo Tomizawa, Kazuhide Tomonaga & Saburo Hashimoto (from what I have gather over the years).
File: Untitled.png (1.68 MB, 1423x983)
1.68 MB
1.68 MB PNG
Part 3: 1982-1984, Good Bye Miyazaki, Hello Masuda.

By 1982 when Tokyo Movie was doing shows like Ohayo Spank & Cobra, Telecom was doing Sherlock Hound for Rai, Miyazaki did 5 episodes when Tomizawa did 1 episode (The Sovereign Gold Coins) out of the first 6 episodes, Rai shut down production for 2 years because of legal issues, when Hound came back into production, Telecom was already doing Orbots & Disney shows so they only did 2 episodes.

Telecom also did a few episodes of Gadget as Dic needed 65 episodes, 1 episode (The Coo-Coo Clock Caper) was done by the man who will change the face of Telecom for ever Toshihiko Masuda, who along side Kenji Hachizaki & Hiroyuki Aoyama will change the face of TMS forever.

Telecom also did seasons 1 & 2 of The Littles which Episode 1 was done by Isao Takahata (who left production to go with Miyazaki to do Nausicaa at Topcraft) & Nobuo Tomizawa, but with Episode 1, Telecom outsourced it to Studio Gallop which the episode looked like shit, from Episode 2 (with much better animation) on words, the studio's art style will be about the same from here on out; Gone was Miyazaki & Takahata and here stays Masuda, Hachizaki & Aoyama to this day.

Delete Post: [File Only] Style:
[Disable Mobile View / Use Desktop Site]

[Enable Mobile View / Use Mobile Site]

All trademarks and copyrights on this page are owned by their respective parties. Images uploaded are the responsibility of the Poster. Comments are owned by the Poster.