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Fjohnsen Saolsen.Pdf (1.972Mb) BACHELOROPPGAVE: American animation VS. Japanese Animation FORFATTER(E): Stian Olsen Frank Johnsen Dato: 23.05.2012 Summary This bachelor thesis is a comparative study between American animation and Japanese animation. We take a look into differences, taking into account the culture, history, production- and the animation techniques employed. The main theoretical questions that are answered in this study are: - How has each side of animation influenced the culture surrounding it, and vice versa? -Why can Japanese animation studios presumably produce more than twice the amount that an American animation studio produces? - What are some of the structural differences when looking at similar, but ultimately different, productions from each side of animation? We have come to decisive conclusions to each theoretical question. The biggest cultural influence for Japanese animation is the Shinto religion. It is at the core of Japanese animation, and influences both storytelling and visual elements. In American animation, a shift happened in the culture, making its animation oriented towards children. In later years, it shifted again towards adults. This gave birth to adult-oriented animated sitcoms, which has become the norm in America. Japanese animation studios produce content faster than American animation studios. The biggest reasons for this is their budgets, how detailed the work is, and how hard the studio pushes themselves. Japanese anime is not as detailed as American animation, therefore it doesn’t take as long to produce. On average, 30 minutes of Japanese animation takes 1-3 months to produce, while 30 minutes of American animation takes 6-9 months to produce. Some of the biggest structural differences between Japanese and American animation is how they blur the line between good and evil, and how they pace their stories. Japanese animation usually gives characters a mix of both good and bad qualities, while American animation clearly defines a good hero, and an evil villain. Foreword I (Stian) am nothing short of trilled for the fact that I’m allowed to write a full thesis on what I consider my own personal hobby. I find the subject of Japanese animation fascinating, and if anyone who reads this thesis starts watching just a little bit of Japanese animation, that would make all this hard work worthwhile. While I feel that we had to cut a lot of ‘muscle’ to get this thesis finished, I still hope that you’ll enjoy what we wrote, and that you might consider watching some of the shows we mention. I hope you’ll enjoy reading it as much as I enjoyed writing it. Gjøvik 22.05.2011 I (Frank) was approached by Stian with a suggestion on writing a thesis on American and Japanese animation. I have always been interested in animation, especially American. I have to admit, I had barely seen any Japanese shows at the time. But while working on this thesis, I’ve gained interest and learned a huge amount of information. We have worked five months on this thesis, not including the planning, and it has been a part of daily life during this time. While it was a challenging task, I have no regrets. We would both like to thank our guidance counselor Odd Christian Hagen who contributed help and advice based on his knowledge on storytelling and helping us write this thesis. I would also like to thank Stian for letting me car pool during the process. Gjøvik 22.05.2011 Table of Contents Introduction ............................................................................................................................................ 1 Main Article ............................................................................................................................................. 5 Technical Aspects of animation ............................................................................................................ 5 The Illusion of Movement ................................................................................................................ 5 Ink and Paint……………………………………………………………………………………………………………………………………7 Multiplane camera…………………………………………………………………………………………………………………………..8 Digital Ink and Paint ......................................................................................................................... 9 CAPS………………………………………………………………………………………………………………………..........................9 Producing Anime………………………………………………………………………………………………………………………........9 Animating on a Budget .................................................................................................................. 11 History, Culture and Religion. ……………………………………………………………………………………………………………...11 Culture & Religion .......................................................................................................................... 14 History of Japanese animation ....................................................................................................... 14 Culture……………………………………………………………………………………………………………………......................…18 Drowning in Money……………………………………………………………………………………………………………………….19 Shinto - The Religion of Nature Worship, Emperor Worship and Purity .......................................... 21 Analysis’ ................................................................................................................................................ 22 Disney & Ghibli .................................................................................................................................. 22 Alice in Wonderland ...................................................................................................................... 23 Starting the project .................................................................................................................... 23 Finding Alice…………………………………………………………………………………………………………………………...…24 Adapting the Story…………………………………………………………………………………………………………………….24 Character Visualization……………………………………………………………………………………………………………….25 Production………………………………………………………………………………………………………………………............25 Theatrical Release and Aftermath…………………………………………………………………………………………….26 Spirited Away ................................................................................................................................ 27 Major Characters………………………………………………………………………………………………………………….…..28 Minor Characters………………………………………………………………………………………………………………………30 Value in Details………………………………………………………………………………………………………………………….30 Underlying Themes, Motifs and Symbolism ................................................................................ 31 The power of names……………………………………………………………………………………………………………...31 Blurring the Line between Good and Evil ................................................................................ 31 Entering adulthood…………………………………………………………………………………………………………………31 Greed………………………………………………………………………………………………………………………................32 Environmentalism…………………………………………………………………………………………………………………..32 Theatrical Release…………………………………………………………………………………………………………………..32 The Little Mermaid ........................................................................................................................ 33 Story………………………………………………………………………………………………………………………....................33 Adapting the Story…………………………………………………………………………………………………………………….35 Music………………………………………………………………………………………………………………………………..…...…35 Characters ................................................................................................................................. 36 Themes………………………………………………………………………………………………………………………................37 Theatrical Release ...................................................................................................................... 37 Ponyo ............................................................................................................................................ 38 Story……………………………………………………………………………………………………………………….................…38 Characters ................................................................................................................................. 39 Visual expression ....................................................................................................................... 40 Themes and motifs .................................................................................................................... 41 The Simpsons ................................................................................................................................. 42 Characters ................................................................................................................................. 43 Minor Characters…………………………………………………………………………………………………………………..….45 The Universe……………………………………………………………………………………………………………………….......45 Production……………………………………………………………………………………………………………………..........…46 Style……………………………………………………………………………………………………………………...................….48 Behind the Voices ...................................................................................................................... 49 The 'New' Simpsons………………………………………………………………………………………………………………….49 One Piece ...................................................................................................................................... 50 Nakama………………………………………………………………………………………….……………………………………...…50 Starting Out……………………………………………………………………………………………………………………........…51 Working Method ........................................................................................................................ 52 Art Evolution……………………………………………………………………………………………………………………….......53
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