著者

呉 恵京

出版者

法政大学国際日本学研究所

雑誌

国際日本学 = INTERNATIONAL JAPANESE STUDIES (ISSN:18838596)

巻号頁・発行日

vol.6, pp.181-202, 2009-03-31

---

Tezuka Osamu, the figure who first established the fundamentals of Japanese “story manga,” is regarded as a god in the manga industry. He also had a great influence on animation. One of his major accomplishments, a revolutionary development in the field, was the production of Tetsuwan Atom (1963, Mushi Productions), the first domestic feature animation produced expressly for television broadcast. His continued work as the pioneer of Japanese television animation culminated in his Jungle Emperor Leo, the first color animation broadcast on television throughout the world.What did animation mean to Tezuka? He has left us with a very strong statement: “… my dream and passion belong to animation. That’s why I became a comic book writer.” (“Son shita toki, toku shita toki,” Asahi Shinbun, April 2, 1979). In fact, he invested a tremendous amount of his own wealth in establishing the animation production studio Mushi Productions in 1962, and in producing numerous animations, while managing his busy schedule to continue writing comic books. What, then, did he want to express through these animations? Some critics point out that he was heavily influenced by Walt Disney, and that he was simply imitating Disney’s works. Even in his first experimental animations, however, it can be argued that this is certainly not the case. Rather, his unique ideas were displayed in various ways. It might be more suitable to postulate that his works appeared similar to those of Walt Disney since contemporary animation techniques were unable to express fully what he meant to express.Taking this in account, here I focus on and analyze the expressive techniques in his animations. By analyzing his fourteen experimental animations, I conclude that he was not limited to certain techniques; his works display both pre-war and post-war techniques, traditional and original ideas, and newly created techniques. Previously, existing animations were the only source for studying animation techniques because few books were published on the topic. While it is evident that Tezuka incorporated many of Disney’s techniques, Disney was not his only source. He incorporated ideas from other animations and even from comic books; he basically used any technique available that could be applied to animation. His animations were a venue for him to explore new ideas using traditional animation as a foundation.

著者

呉 恵京

出版者

法政大学国際日本学研究所

雑誌

国際日本学 = INTERNATIONAL JAPANESE STUDIES (ISSN:18838596)

巻号頁・発行日

vol.8, pp.305-330, 2010-08-10

---

Furthermore, it is also surprising that not much studying has been done on Seo Mitsuo either, who created about 25 pieces of work during the period of 1932 and 1949 through a method known as “Sell Animation.” The purpose of this study is to understand Kenjo Masaoka, a genius of Sell Animation, and analyze his works in order to identify the nature of those works.There are five main points in conclusion: first, of division of labor was developed more by use of a cell, and that a big hint was given to a division system of an after Japan animation co. The thing in which two could express a movement of the character which makes a story stand out freely using a cell. Such as applying to a movie cartoon three of taking a picture, various methods are tried, consequently, the thing which improved the quality of a movie cartoon. I kept studying four music methods, and that musical visualization was advanced. Five kept educating the posterity represented by Mitsuyo Seo and others, and that their ability was improved.

著者

呉 恵京

出版者

法政大学

雑誌

大学院紀要 (ISSN:03872610)

巻号頁・発行日

vol.56, pp.272-273, 2006-03-31