사용자:콩가루/일본의 애니메이션

위키백과, 우리 모두의 백과사전.


아니메(일본어: アニメ) 또는 재패니메이션(영어: Japanimation)은 일본의 애니메이션 애니메이션을 일컫는다. 주로 기존에 연재되는 동명의 인기있는 만화를 원작으로 제작되며, 장면의 대부분은 셀 애니메이션 방식이 사용된다. '아니메'는 영어 단어 'animation(애니메이션)'이 변형된 형태이다.[1] 다른 언어에서, 이 용어는 일본에서 온 애니메이션이나 다채로운 그림, 활기찬 캐릭터와 판타지적 주제를 가진 일본풍의 애니메이션 스타일을 가진 애니메이션을 의미한다. 초기 일본의 상업적 애니메이션의 역사는 1917년으로 거슬러 올라가고, 그 이후에 일본 애니메이션 제작은 점차적으로 증가했다. 캐릭터풍의 애니메이션 스타일의 경우 1960년대에 테즈카 오사무의 작품에서 나왔으며, 20세기 후반에 전세계적으로 확산되면서 거대한 국내외 시청자를 만들었다. 일본의 애니메이션의 경우 극장에서, 텔레비전 방송으로, 직접 홈 미디어로, 인터넷으로 배포되었고, 다양한 대중의 수요를 잡기 위해 다양한 장르로 나뉘어졌다.

일본의 애니메이션은 새로 나온 기술에 반응하여 시간에 적응해 온 독특한 제작 방법과 기술을 이용한 다양한 예술의 형태이다. 애니메이션 제작은 움직임에는 촛점을 덜 맞추고, 패닝, 줌과 앵글 샷을 비롯한 카메라 효과의 사용과 더불어 주위 환경의 사실성에 더 촛점을 맞추었다. 다양한 예술 형태가 사용되었으며, 강조된 감정 표현이나 현실적인 크기의 눈을 포함하여, 등장 인물의 조화와 특징은 꽤 다양하다.

일본 애니메이션 제작사는 430여 회사가 있는데 그 중 유명 회사는 스튜디오 지브리, 가이낙스, 토에이 애니메이션 등이 있다. 국내 시장을 나눠먹고 있기는 하지만, 애니메이션은 DVD 판매량의 다수를 차지하고 있으며 외국어 더빙이 증가함에 따라 국제적으로 성공을 거두고 있다. 국제적 명성의 증가는 일본 밖에서 일본 애니메이션 형식으로 제작된 애니메이션의 증가를 불러왔지만, 팬과 산업계 모두 이를 아니메에 영향을 받은 애니메이션으로 정의한다.


Definition and usage[편집]

Anime is an art form, specifically animation, that includes all genres found in cinema, but it can be mistakenly classified as a genre.[2]:7 In Japan, the term anime refers to all forms of animation from around the world.[1][3] English-language dictionaries define anime as a "Japanese-style animated film or television entertainment" or as "a style of animation created in Japan".[4][5]

The etymology of the word anime is disputed. The English term "animation" is written in Japanese katakana as アニメーション (animēshon, pronounced [animeːɕoɴ]),[6] and is アニメ (anime) in its shortened form.[6] Some sources claim that anime derives from the French term for animation, dessin animé,[7][8] but others believe this to be a myth derived from the French popularity of the medium in the late 1970s and 1980s.[6] In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?").[9] Prior to the widespread use of anime, the term Japanimation was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation.[7][10] In general, the term now only appears in period works where it is used to distinguish and identify Japanese animation.[10]

In 1987, Hayao Miyazaki stated that he despised the truncated word "Anime" because to him it represented the desolation of the Japanese animation industry. He equated the desolation with animators lacking motivation and mass-produced, overly expressive products which rely on fixed iconography for facial expressions and protracted and exaggerated action scenes but lack depth and sophistication because they do not attempt to convey emotion or thought.[11]

Format[편집]

The first format of anime was theatrical viewing which originally began with commercial productions in 1917.[12] Originally the animated flips were crude and required played musical components before adding sound and vocal components to the production. On July 14, 1958, Nippon Television aired Mole's Adventure, both the first televised and first color anime to debut.[13] It wasn't until the 1960s when the first televised series were broadcast and it has remained a popular medium since.[2]:13 Works released in a direct to video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release.[2]:14[14] The emergence of the internet has led some animators to distribute works online in a format called "original net anime" (ONA).[15]

The home distribution of anime releases were popularized in the 1980s with the VHS and Laser Disc formats.[2]:14 The VHS NTSC video format used in both Japan and the United States is credited as aiding the rising popularity of anime in the 1990s.[2]:14 The Laser Disc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc.[2]:15 The DVD format also has its drawbacks in the its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player.[2]:15 The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies.[2]:15

History[편집]

<nowiki /> 이 부분의 본문은 History of anime입니다.
A cel from the earliest surviving Japanese animated short, produced in 1917

Anime arose in the early 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States and Russia.[8] A claim for the earliest Japanese animation is Katsudō Shashin, an undated and private work by an unknown creator.[16] In 1917, the first professional and publicly displayed works began to appear. Animators such as Ōten Shimokawa and Seitarou Kitayama produced numerous works, with the oldest surviving film being Kouchi's Namakura Gatana, a two-minute clip of a samurai trying to test a new sword on his target only to suffer defeat.[12][17][18] The 1923 Great Kantō earthquake resulted in widespread destruction to Japan's infrastructure and the destruction of Shimokawa's warehouse, destroying most of these early works.

By the 1930s animation was well established in Japan as an alternative format to the live-action industry. It suffered competition from foreign producers and many animators, such as Noburō Ōfuji and Yasuji Murata, who still worked in cheaper cutout animation rather than cel animation.[19] Other creators, such as Kenzō Masaoka and Mitsuyo Seo, nonetheless made great strides in animation technique; they benefited from the patronage of the government, which employed animators to produce educational shorts and propaganda.[20] The first talkie anime was Chikara to Onna no Yo no Naka, produced by Masaoka in 1933.[21][22] By 1940, numerous anime artists' organizations had risen, including the Shin Mangaha Shudan and Shin Nippon Mangaka.[23] The first feature length animated film was Momotaro's Divine Sea Warriors directed by Seo in 1944 with sponsorship by the Imperial Japanese Navy.[24]

A frame from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film

The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs profoundly influenced many Japanese animators.[25] In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation staff.[26] Three Tales, aired in 1960, was the first anime shown on television. The first anime television series was Otogi Manga Calendar, aired from 1961 to 1964.

The 1970s saw a surge of growth in the popularity of manga, Japanese comic books and graphic novels, many of which were later animated. The work of Osamu Tezuka drew particular attention: he has been called a "legend"[27] and the "god of manga".[28][29] His work – and that of other pioneers in the field – inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century. In 2002, Spirited Away, a Studio Ghibli production directed by Hayao Miyazaki won the Golden Bear at the Berlin International Film Festival and in 2003 at the 75th Academy Awards it won the Academy Award for Best Animated Feature.

장르[편집]

일본 애니메이션은 타겟 연령층에 따라 분류할 수 있다. 이에 따라 아동 만화, 소녀 만화, 소년 만화, 청년 만화, 여성 만화 등으로 분류가 가능하다. 소녀 만화와 소년 만화는 다양한 성별의 독자를 이끌어내기 위해 남녀 어린이 모두에게 인기가 있는 애니메이션 요소를 포함하기도 한다. 성인 애니메이션의 경우 작중 전개 속도가 느리고 줄거리 복잡성이 더 크기도 하며, 성인이 좋아할 만한 주제와 상황을 포함하고 있다.:44–48 성인 애니메이션 작품 중 일부는 일본에서 "R18"로 분류가 되는데, 이러한 애니메이션을 헨타이라고 부르기도 한다. 대조적으로, 다양한 애니메이션 장르의 하위 장르로, 성적 행위를 직접 묘사하지는 않으면서 성적인 주제나 암시가 들어가 있는 '엣치'라는 것이 있는데 전형적으로 코미디 애니메이션이나 하렘 애니메이션에 이 요소가 들어가기도 한다. 청소년 계층과 성인 계층에게 인기가 많아서 애니메이션에 엣치 요소를 넣는 것은 팬 서비스의 일종으로 생각할 수 있다.[30][31]:89

일본 애니메이션의 분류는 다른 애니메이션의 분류와 달라서 간단한 특징으로 분류할 수 없다.[2]:34 일본 애니메이션과 만화에 대해 책을 쓴 Gilles poitras는 전쟁과 평화를 전쟁 소설로 여기게 하는 것과 유사하게 '건담 0090'과 그것의 복잡한 전쟁 묘사를 거대 로봇으로 딱지를 붙이는 것을 비교했다. SF는 일본 애니의 주된 장르이고 테즈카 오사무의 철완 아톰이나 요코야마 미츠테루의 철인 28호와 같이 역사적으로 중요한 작품도 있다. SF의 하위 장르 중에는 메카물이 잇는데 건담과 같은 작품이 있다..[2]:35 다양한 판타지 장르 애니메이션은 일본의 옛 이야기에서 소재를 따 온 '이누야샤'와 같이 동서양의 전통과 설화에 기반한 작품이 있고, '오 내 여신님'에서와 같이 위그드라실이라 불리는 컴퓨터를 유지하기 위해 일본으로 옮겨 온 스칸디나비아 여신을 묘사한 작품도 있다.[2]:37–40 애니메이션의 장르는 일반적인 경우도 있는데, 드레곤 하프와 같이 판타지와 코미디가 섞인 작품, 카리오스트로의 성과 같이 범죄 애니메이션에 익살스러움을 첨가한 경우도 있다.[2]:41–43 다른 하위 장르로는 마법소녀, 하렘, 스포츠, 무술, 문학의 애니화, 전쟁 등이 있다.[2]:45–49

동성애를 다룬 장르도 있다. 원래 용어에는 외설적인 면이 있기는 했지만, 야오이(남성간 동성애)와 백합(여성간 동성애)는 널리 쓰이는 용어가 되었고 전 세계적으로 로맨틱한 동성애 관계를 다룬 작품을 묘사하는 데에 쓰이기 시작했다. 2000년 이후, 동성애적 캐릭터는 코미디 효과를 주기 위해 널리 사용되었으나, 동성애 캐릭터를 진지하게, 공감적으로 묘사하는 경우도 있다.[2]:50

Attributes[편집]

파일:Modernanime.jpg
Anime artists employ many distinct visual styles

Anime differs greatly from other forms of animation by its diverse art styles, methods of animation, its production, and its process. Visually, anime is a diverse art form that contains a wide variety of art styles, differing from one creator, artist, and studio. While no one art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design. Any other visual variation falls under the artists as they see fit.

Animation technique[편집]

Anime follows the typical production of animation, including storyboarding, voice acting, character design, and cel production. Since the 1990s, animators have increasingly used computer animation to improve the efficiency of the production process. Artists like Noburō Ōfuji pioneered the earliest anime works, which were experimental and consisted of images drawn on blackboards, stop motion animation of paper cutouts, and silhouette animation.[32][33] Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent short films,[34] including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachirō Kawamoto and Tomoyasu Murata.[35][36] Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images.[2]:29 Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes.[2]:29

Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach.[32] The majority of mainstream anime uses fewer expressive key frames and more in-between animation.[37]

Japanese animation studios were pioneers of many limited animation techniques, and have given anime a distinct set of conventions. Unlike Disney animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices.[38] Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work.[8] The backgrounds are not always invented and are occasionally based on real locations, as exemplified in Howl's Moving Castle and The Melancholy of Haruhi Suzumiya.[39][40] Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".[41]

The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality.[2]:58[42][43] In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first; this can cause lip sync errors in the Japanese version.[2]:59

Characters[편집]

Body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head heights can vary, but most anime characters are about seven to eight heads tall.[44] Anime artists occasionally make deliberate modifications to body proportions to produce super deformed characters that feature a disproportionately small body compared to the head; many super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons.

A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes.[2]:60 The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used.[45][46] Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[47] However, not all anime have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.[48]

Anime and manga artists often draw from a defined set of facial expressions to depict particular emotions

Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair action" is used to emphasize the action and emotions of characters for added visual effect.[2]:62 Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga.[2]:61 Despite being produced for a domestic market, anime features characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.[49]

Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts.[50] These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods.[51] These expression are often exaggerated and are typically comedic in nature. For example, a male character may develop a nosebleed when aroused, stemming from a Japanese old wives' tale.[51] A variety of visual symbols are employed, including sweatdrops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare.[52]:52

Music[편집]

The opening and credits sequences of most anime television episodes are accompanied by Japanese pop or rock songs, often by reputed bands. They may be written with the series in mind, but are also aimed at the general music market, and therefore often allude only vaguely or not at all to the themes or plot of the series. Pop and rock songs are also sometimes used as incidental music ("insert songs") in an episode, often to highlight particularly important scenes. More often than not, background music is employed as an added flavor to series either to drive story plot lines or to simply to decorate particular scenes and animated sequences. Furthermore, some series offer all applied music available in the form of OST, or original soundtracks.[53]

Industry[편집]

The animation industry consists of more than 430 production companies with some of the major studios including Toei Animation, Gainax, Madhouse, Gonzo, Sunrise, Bones, TMS Entertainment, Nippon Animation, Studio Pierrot and Studio Ghibli.[52]:17 Many of the studios are organized into a trade association, The Association of Japanese Animations. There is also a labor union for workers in the industry, the Japanese Animation Creators Association. Studios will often work together to produce more complex and costly projects, as done with Studio Ghibli's Spirited Away.[52]:17 An anime episode can cost between US$100,000 and US$300,000 to produce.[54] In 2001, animation accounted for 7% of the Japanese film market, above the 4.6% market share for live-action works.[52]:17 The popularity and success of anime is seen through the profitability of the DVD market, contributing nearly 70% of total sales.[52]:17 Spirited Away (2001) is the highest-grossing anime film, with US$274,925,095.[55]

The anime market for the United States was worth approximately $2.74 billion in 2009.[56] Dubbed animation began airing in the United States in 2000 on networks like The WB and Cartoon Network's Adult Swim.[52]:18 In 2005, this resulted in five of the top ten anime titles having previously aired on Cartoon Network.[52]:18 As a part of localization, some editing of cultural references may occur to better follow the references of the non-Japanese culture.[57] The cost of English localization averages US $10,000 per episode.[58]

The industry has been subject to both praise and condemnation for fansubs, the addition of unlicensed and unauthorized subtitled translations of anime series or films.[52]:206 Fansubs, which were originally distributed on VHS bootlegged cassettes in the 1980s, have been freely available and disseminated online since the 1990s.[52]:206 Fansubbers tend to adhere to an unwritten code to destroy or no longer distribute an anime once an official translated or subtitled version becomes licensed, although fansubs typically continue to circulate through file sharing networks.[52]:207

Legal international availability of anime on the internet has changed in recent years, with simulcasts of series available on websites like Crunchyroll.

Awards[편집]

The anime industry has several annual awards which honor the year's best works. Major annual awards in Japan include the Ōfuji Noburō Award, the Mainichi Film Award for Best Animation Film, the Animation Kobe Awards, the Japan Media Arts Festival animation awards, the Tokyo Anime Award and the Japan Academy Prize for Animation of the Year. In the United States, anime films compete in the ICv2.com Anime Awards[52]:257–258 There were also the American Anime Awards, which were designed to recognize excellence in anime titles nominated by the industry, and were held only once in 2006.[52]:258 Anime productions are also nominated and win awards not exclusively for anime.

Influence on world culture[편집]

Akihabara district of Tokyo is the center of otaku subculture in Japan.

Anime has become commercially profitable in Western countries, as demonstrated by early commercially successful Western adaptations of anime, such as Astro Boy. Since the 19th century, many Westerners have expressed a particular interest towards Japan and anime has dramatically exposed more Westerners to the culture of Japan.

Fan response[편집]

Anime clubs gave rise to anime conventions in the 1990s with the "anime boom", a period marked by increased popularity of anime.[2]:73 These conventions are dedicated to anime and manga and include elements like cosplay contests and industry talk panels.[52]:211 Cosplay, a portmanteau for "costume play", is not unique to anime and has become popular in contests and masquerades at anime conventions.[52]:214–215 Japanese culture and words have entered English usage through the popularity of the medium, including otaku, a derogatory Japanese term commonly used in English to denote a fan of anime and manga.[52]:195 Anime enthusiasts have produced fan fiction and fan art, including computer wallpaper and anime music videos.[52]:201–205

Anime in Western animation[편집]

As anime itself became increasingly popular, anime styling has been inevitably the subject of both satire and serious creative productions.[6][59] South Park's "Chinpokomon" and "Good Times with Weapons" episodes, Adult Swim's Perfect Hair Forever, and Nickelodeon's Kappa Mikey are examples of satirical depictions of Japanese culture and anime. Some works have sparked debate for blurring the lines between satire and serious "anime style" productions, such as the American anime style production Avatar: The Last Airbender.[59] These anime styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin.[60] Some creators of these works cite anime as a source of inspiration and like the French production team for Ōban Star-Racers moved to Tokyo to collaborate with a Japanese production team.[61][62][63] When anime is defined as a "style" rather than as a national product it leaves open the possibility of anime being produced in other countries.[4][59] A series dubbed as the "Middle East's First Anime Show" is currently in production,[64] which is currently looking for funding.[65] The web-based series RWBY is produced using an anime art style and has been declared to be anime.[66][67] In addition, the series will be released in Japan, under the label of "anime" per the Japanese definition of the term and referenced as an "American-made anime".[68][69] Defining anime as style has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity."[6][70]

See also[편집]

Portal iconJapan 포털
Portal iconAnimation 포털
Portal iconAnime and manga 포털

References[편집]

  1. ↑ 가 나 “What is Anime?”. 《Lesley Aeschliman》. Bellaonline. 2007년 11월 7일에 보존된 문서. 2007년 10월 28일에 확인함. 
  2. ↑ 가 나 다 라 마 바 사 아 자 차 카 타 파 하 거 너 더 러 머 버 서 어 Poitras, Gilles (2000). 《Anime Essentials: Every Thing a Fan Needs to Know》. Stone Bridge Press. 7–115쪽. ISBN 978-1-880656-53-2. 
  3. ↑ “Tezuka: The Marvel of Manga - Education Kit” (PDF). Art Gallery New South Wales. 2007. 2007년 8월 30일에 원본 문서 (PDF)에서 보존된 문서. 2007년 10월 28일에 확인함. 
  4. ↑ 가 나 인용 오류: <ref> 태그가 잘못되었습니다; webster라는 이름을 가진 주석에 텍스트가 없습니다
  5. ↑ “Anime”. Oxford English Dictionary. 2014년 8월 2일에 확인함. 
  6. ↑ 가 나 다 라 마 인용 오류: <ref> 태그가 잘못되었습니다; anna라는 이름을 가진 주석에 텍스트가 없습니다
  7. ↑ 가 나 “Etymology Dictionary Reference: Anime”. 《Etymonline》. 2013년 4월 22일에 확인함. 
  8. ↑ 가 나 다 Schodt, Frederik L. (1997년 8월 18일). 《Manga! Manga!: The World of Japanese Comics》 Reprint판. Tokyo, Japan: Kodansha International. ISBN 0-87011-752-1. 
  9. ↑ American Heritage Dictionary, 4th ed.; Dictionary.com Unabridged (v 1.1).
  10. ↑ 가 나 Patten, Fred (2004). 《Watching Anime, Reading Manga: 25 Years of Essays and Reviews》. Stone Bridge Press. ISBN 1-880656-92-2. 
  11. ↑ Miyazaki, Hayao (1996년 7월 31일). 〈日本のアニメーションについて〉 [Thoughts on Japanese Animation]. 《出発点 1979~1996》 [Starting Point 1979~1996]. San Francisco: Viz Media. 72ff쪽. ISBN 978-1-4215-0594-7. 2013년 12월 16일에 확인함. 
  12. ↑ 가 나 “Some remarks on the first Japanese animation films in 1917” (PDF). Litten, Frank. 2013년 7월 11일에 확인함. 
  13. ↑ “Oldest TV Anime's Color Screenshots Posted”. Anime News Network. 2013년 6월 19일. 2013년 7월 17일에 확인함. 
  14. ↑ “Original Animation Video (OAV/OVA)”. Anime News Network. 2013년 9월 5일에 확인함. 
  15. ↑ “Original Net Anime (ONA)”. Anime News Network. 2013년 9월 5일에 확인함. 
  16. ↑ Clements, Jonathan, and Helen McCarthy. The Anime Encyclopedia: A Guide to Japanese Animation Since 1917. Berkeley, Calif: Stone Bridge Press, 2006. Page 169
  17. ↑ “Japan's oldest animation films”. 《ImprintTALK》. 2008년 3월 31일. 
  18. ↑ “Historic 91-year-old anime discovered in Osaka”. HDR Japan. 2008년 3월 30일. 2008년 4월 2일에 원본 문서에서 보존된 문서. 2008년 5월 12일에 확인함. 
  19. ↑ Sharp, Jasper (2004년 9월 23일). “Pioneers of Japanese Animation (Part 1)”. Midnight Eye. 2010년 1월 17일에 보존된 문서. 2009년 12월 11일에 확인함. 
  20. ↑ Yamaguchi, Katsunori; Yasushi Watanabe (1977). 《Nihon animēshon eigashi》. Yūbunsha. 26–37쪽. 
  21. ↑ Baricordi, Andrea; de Giovanni, Massimiliano; Pietroni, Andrea; Rossi, Barbara; Tunesi, Sabrina (December 2000). 《Anime: A Guide to Japanese Animation (1958–1988)》. Montreal, Quebec, Canada: Protoculture Inc. 12쪽. ISBN 2-9805759-0-9. 
  22. ↑ 《Japan: An Illustrated Encyclopedia》. Tokyo, Japan: Kodansha. 1993. ISBN 978-4-06-206489-7. 
  23. ↑ “What is Anime?”. AnimeStatic. 2012년 11월 22일에 확인함. 
  24. ↑ Official booklet, The Roots of Japanese Anime, DVD, Zakka Films, 2009.
  25. ↑ “A Brief History of Anime”. 《Michael O'Connell, Otakon 1999 Program Book》. 1999. 2007년 8월 24일에 보존된 문서. 2007년 9월 11일에 확인함. 
  26. ↑ Zagzoug, Marwa (April 2001). “The History of Anime & Manga”. Northern Virginia Community College. 2012년 11월 22일에 확인함. 
  27. ↑ Ohara, Atsushi (2006년 5월 11일). “5 missing manga pieces by Osamu Tezuka found in U.S”. Asahi Shimbun. 2006년 5월 20일에 원본 문서에서 보존된 문서. 2006년 8월 29일에 확인함. 
  28. ↑ “Dr. Osamu Tezuka”. 《The Anime Encyclopedia》. The Anime Café. 2000년 3월 14일. 2006년 8월 23일에 보존된 문서. 2006년 8월 29일에 확인함. 
  29. ↑ Gravett, Paul (2003). “Osamu Tezuka: The God of Manga”. 2007년 12월 31일에 원본 문서에서 보존된 문서. 2006년 8월 29일에 확인함. 
  30. ↑ Ask John: Why Do Americans Hate Harem Anime?. animenation.net. May 20. 2005. Note: fan service and ecchi are often considered the same in wording.
  31. ↑ Robin E. Brenner: Understanding manga and anime. Libraries Unlimited, 2007, ISBN 978-1-59158-332-5
  32. ↑ 가 나 Jouvanceau, Pierre; Clare Kitson (translator) (2004). 《The Silhouette Film》. Genoa: Le Mani. 103쪽. ISBN 88-8012-299-1. 2009년 8월 8일에 확인함. 
  33. ↑ “Tribute to Noburō Ōfuji” (PDF). 《To the Source of Anime: Japanese Animation》. Cinémathèque québécoise. 2008. 2008년 8월 19일에 보존된 문서 (PDF). 2008년 7월 21일에 확인함.  [깨진 링크]
  34. ↑ Sharp, Jasper (2003). “Beyond Anime: A Brief Guide to Experimental Japanese Animation”. 《Midnight Eye》. 2008년 7월 25일에 보존된 문서. 2008년 7월 21일에 확인함. 
  35. ↑ Sharp, Jasper (2004). “Interview with Kihachirō Kawamoto”. 《Midnight Eye》. 2008년 7월 21일에 확인함. 
  36. ↑ Munroe Hotes, Catherine (2008). “Tomoyasu Murata and Company”. 《Midnight Eye》. 2008년 7월 21일에 확인함. 
  37. ↑ Dong, Bamboo; Brienza, Casey; Pocock, Sara (2008년 11월 4일). “A Look at Key Animation”. Chicks on Anime. Anime News Network. 2012년 9월 30일에 확인함. 
  38. ↑ Dong, Bamboo; Brienza, Casey; Pocock, Sara; Sevakis, Robin (2008년 9월 16일). “Chicks on Anime - Sep 16th 2008”. Chicks on Anime. Anime News Network. 2012년 9월 30일에 확인함. 
  39. ↑ Cavallaro, Dani (2006). 《The Anime Art of Hayao Miyazaki》. McFarland. 157–171쪽. 
  40. ↑ “Reference pictures to actual places”. 2007년 1월 26일에 보존된 문서. 2007년 1월 25일에 확인함. 
  41. ↑ Oppliger, John (2012년 10월 1일). “Ask John: What Determines a Show's Animation Quality?”. AnimeNation. 2012년 10월 28일에 확인함. 
  42. ↑ “Anime production process - feature film”. 《PRODUCTION I.G》. 2000. 2007년 8월 15일에 보존된 문서. 2007년 8월 27일에 확인함. 
  43. ↑ “Cinematography: Looping and Animetion Techniques”. 《Understanding Anime》. 1999. 2008년 6월 13일에 원본 문서에서 보존된 문서. 2007년 8월 29일에 확인함. 
  44. ↑ “Body Proportion”. 《Akemi's Anime World》. 2007년 8월 5일에 보존된 문서. 2007년 8월 16일에 확인함. 
  45. ↑ “Basic Anime Eye Tutorial”. 《Centi, Biorust.com》. 2007년 8월 24일에 보존된 문서. 2007년 8월 22일에 확인함. 
  46. ↑ Carlus (2007년 6월 6일). “How to color anime eye”. YouTube. 2007년 8월 22일에 확인함. 
  47. ↑ “Do Manga Characters Look "White"?”. 2011년 7월 17일에 원본 문서에서 보존된 문서. 2005년 12월 11일에 확인함. 
  48. ↑ Poitras, Gilles (1998). 《Anime Companion》. Berkeley, California: Stone Bridge Press. ISBN 1-880656-32-9. 
  49. ↑ Tobin, Joseph Jay (2004). 《Pikachu's Global Adventure: The Rise and Fall of Pokémon》. Duke University Press. 88쪽. ISBN 0-8223-3287-6. 
  50. ↑ “Manga Tutorials: Emotional Expressions”. 《Rio》. 2008년 7월 29일에 보존된 문서. 2008년 8월 22일에 확인함. 
  51. ↑ 가 나 University of Michigan Animae Project (Current). “Emotional Iconography in Animae”. August 8, 2009에 확인함. 
  52. ↑ 가 나 다 라 마 바 사 아 자 차 카 타 파 하 거 너 Brenner, Robin (2007). 《Understanding Manga and Anime》. Libraries Unlimited. ISBN 978-1-59158-332-5. 
  53. ↑ “Original Soundtrack (OST)”. 《Anime News Network》. ANN. 2014년 10월 15일에 확인함. 
  54. ↑ Justin Sevakis (2012년 3월 5일). “The Anime Economy - Part 1: Let's Make An Anime!”. 《Anime News Network》. 2014년 1월 3일에 확인함. 
  55. ↑ “Spirited Away”. 《Box Office Mojo》. 2014년 5월 16일에 확인함. 
  56. ↑ “America's 2009 Anime Market Pegged at US$2.741 Billion”. 《Anime News Network》. 2011년 4월 15일. 2013년 12월 29일에 확인함. 
  57. ↑ “Pokemon Case Study”. W3.salemstate.edu. 2010년 11월 1일에 확인함. 
  58. ↑ Oppliger, John (2012년 2월 24일). “Ask John: Why Does Dubbing Cost So Much?”. AnimeNation. 2012년 10월 29일에 확인함. 
  59. ↑ 가 나 다 인용 오류: <ref> 태그가 잘못되었습니다; escapist라는 이름을 가진 주석에 텍스트가 없습니다
  60. ↑ “What is anime?”. 《ANN》. 2002년 7월 26일. 2007년 8월 20일에 보존된 문서. 2007년 8월 18일에 확인함. 
  61. ↑ “Aaron McGruder - The Boondocks Interview”. 《Troy Rogers》. UnderGroundOnline. 2007년 10월 30일에 원본 문서에서 보존된 문서. 2007년 10월 14일에 확인함. We looked at Samurai Champloo and Cowboy Bebop to make this work for black comedy and it would be a remarkable thing. 
  62. ↑ “Ten Minutes with "Megas XLR"”. 2004년 10월 13일. 
  63. ↑ “STW company background summary”. 
  64. ↑ 인용 오류: <ref> 태그가 잘못되었습니다; Torkaizer라는 이름을 가진 주석에 텍스트가 없습니다
  65. ↑ Green, Scott (2013년 12월 26일). “VIDEO: An Updated Look at "Middle East's First Anime"”. 《Crunchyroll》. Crunchyroll. 2014년 8월 20일에 확인함. 
  66. ↑ 인용 오류: <ref> 태그가 잘못되었습니다; rwby라는 이름을 가진 주석에 텍스트가 없습니다
  67. ↑ Lazar, Shira (2013년 8월 7일). “Roosterteeth Adds Anime RWBY To YouTube Slate (WATCH)”. Huffingtonpost. 2013년 8월 15일에 확인함. 
  68. ↑ “海外3DCGアニメ『RWBY』吹き替え版BD・DVD販売決定！ コミケで発表”. 《KAI-YOU》. 2014년 8월 16일. 2014년 8월 19일에 확인함. 
  69. ↑ Castillo, Michelle (2014년 8월 15일). “American-Made Anime From Rooster Teeth Gets Licensed In Japan”. 《AdWeek》. AdWeek. 2014년 8월 20일에 확인함. 
  70. ↑ “How should the word Anime be defined?”. 《AnimeNation》. 2006년 5월 15일. 2008년 9월 26일에 확인함. 

External links[편집]

틀:Animation industry in Japan 틀:Animation 틀:Japan topics

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