Economic Contribution of the Japanese Film and Television Industry

Total Page:16

File Type:pdf, Size:1020Kb

Economic Contribution of the Japanese Film and Television Industry Economic Contribution of the Japanese Film and Television Industry Final Report October 2019 Mitsubishi Research Institute, Inc. This report has been commissioned by The Motion Picture Association (MPA) in collaboration with Japan and International Motion Picture Copyright Association, Inc. (JIMCA). JIMCA represents the interests in Japan of major motion picture companies and the MPA. Acknowledgements This report required gathering data from number of sources, including publicly available data from domestic industrial organizations. We would like to thank the organizations below for their help in our understanding of the data, as well as their cooperation with our interviews and discussions. Japan Satellite Broadcasting Association (JSBA) Foreign Film Importer - Distributors Association of Japan (FFIDAJ) Motion Picture Producers Associations of Japan, Inc. (MPPAJ) Japan Video Software Association (JVA) Japan Cable and Telecommunication Association (JCTA) The Association of Japanese Animation (AJA) The Japan Commercial Broadcasters Association (JAB) Japan Association of Theatre Owners (JATO) Japan Film Commission (JFC) Compact Disc & Video Rental Commerce Trade Association of Japan (CDVJ) (Japanese alphabetical) Contents 1. Executive Summary .................................................................................................................... 1 1.1 FRAMEWORK AND METHODOLOGY ................................................................................................. 1 1.2 RESULTS FOR ECONOMIC CONTRIBUTION AND MARKET OUTLOOK ................................................. 1 2. Framework and Methodology .................................................................................................... 3 2.1 OUTLINE OF THE STUDY ................................................................................................................ 3 Purpose of the study ............................................................................................................. 3 Study items ........................................................................................................................... 3 Study flow ............................................................................................................................. 3 2.2 FRAMEWORK AND METHODOLOGY ................................................................................................. 4 Measures of economic contribution ..................................................................................... 4 Methodology and assumptions of economic impact ........................................................... 5 Methodology and assumptions of market forecast ............................................................. 6 2.3 DEFINITION OF INDUSTRY .............................................................................................................. 7 Categorizing the subsector .................................................................................................. 7 Structure of the Japanese Film and Television Industry .................................................. 9 Scope of industry and market .............................................................................................11 2.4 APPROXIMATIONS AND LIMITATIONS ............................................................................................ 12 Time frame .......................................................................................................................... 12 Estimated versus actual figures ........................................................................................ 12 Unit for Evaluation ............................................................................................................ 13 3. Study results ............................................................................................................................. 14 3.1 FILM AND TELEVISION INDUSTRY (OVERVIEW) ........................................................................... 14 Economic Contribution ...................................................................................................... 14 Market outlook ................................................................................................................... 15 3.2 FILM PRODUCTION/DISTRIBUTION ............................................................................................... 18 Economic contribution ....................................................................................................... 18 Market Analysis ................................................................................................................. 18 3.3 FILM EXHIBITION ........................................................................................................................ 23 Economic contribution ....................................................................................................... 23 Market Analysis ................................................................................................................. 23 3.4 TV PROGRAM PRODUCTION/DISTRIBUTION .................................................................................. 29 Economic contribution ....................................................................................................... 29 Market Analysis ................................................................................................................. 29 3.5 TELEVISION BROADCASTING ........................................................................................................ 32 Economic contribution ....................................................................................................... 32 Market Analysis ................................................................................................................. 32 3.6 HOME VIDEO ................................................................................................................................ 38 Economic contribution ....................................................................................................... 38 Market Analysis ................................................................................................................. 38 3.7 INTERNET (ONLINE) STREAMING ................................................................................................. 43 Economic contribution ....................................................................................................... 43 Market Analysis ................................................................................................................. 43 3.8 ESTIMATION OF MARKET SIZE ATTRIBUTED TO CONTENT GENRE ................................................. 48 Estimation of market size attributed to films .................................................................. 48 Estimation of market size attributed to Animation ......................................................... 49 3.9 REGIONAL ECONOMIC CONTRIBUTION ......................................................................................... 51 Relationship with the region ............................................................................................. 51 Regional contribution ......................................................................................................... 59 4. Appendix .................................................................................................................................... 64 4.1 METHODOLOGY AND SOURCES OF DATA ...................................................................................... 64 4.2 MAIN QUANTITATIVE DATA SOURCES ........................................................................................... 71 4.3 DETAILS FOR ESTIMATION OF MARKET SIZE ATTRIBUTED TO FILMS ............................................. 72 4.4 RESTRICTIONS ............................................................................................................................. 73 1. Executive Summary The goal of this study is to quantify the economic contribution of the film and television industry in Japan. This study is basically an update to the study conducted in 2012 and 2015, providing additional essence of recent industry trends as well as important aspects of government policy agendas such as content industry development strategy and regional revitalization. This study was conducted in collaboration with local industry organizations, in addition to quantitative analysis based on sources from governmental statistical agencies, industry bodies, and other parties, to provide robust results illustrating the industry structure. 1.1 Framework and methodology In order to assess the economic contribution of the Japanese film and television industry, this study estimates economic indicators such as gross output, value added, labor income, tax revenue, and employment. These economic indicators were estimated through direct impact which describes the economic activity within the defined industries, and indirect impact which describes the economic activity in other industries triggered by the direct impact, as well as induced impact which describes the further economic impact resulting from increase in income. These are added to derive the total economic contribution for each indicator. 1.2 Results for economic contribution and market outlook The economic contribution in FY2018 brought about by the film and television industry in Japan as well
Recommended publications
  • La Complejidad Narrativa En Los Cuentos De Brujas Del Anime Contemporáneo: Autoconsciencia Y Cognoscibilidad En Kurozuka Y Madoka Magica1
    B R U M A L Revista de Investigación sobre lo Fantástico DOI: https://doi.org/10.5565/rev/brumal.627 Research Journal on the Fantastic Vol. VIII, n.º 2 (otoño/autumn 2020), pp. 183-205, ISSN: 2014-7910 LA COMPLEJIDAD NARRATIVA EN LOS CUENTOS DE BRUJAS DEL ANIME CONTEMPORÁNEO: AUTOCONSCIENCIA Y COGNOSCIBILIDAD EN KUROZUKA Y MADOKA MAGICA1 ANTONIO LORIGUIllO-LÓPEZ Universitat Jaume I [email protected] Recibido: 30-09-2019 Aceptado: 27-07-2020 RESUMEN El fantástico es uno de los principales marcos temáticos de las producciones de la ani- mación comercial japonesa. Dentro de este género, las diversas adaptaciones y reelabo- raciones de mitos y cuentos tradicionales suponen recursos fértiles con los que cubrir las demandas de una industria extremadamente prolífica. Sin embargo, pese a su po- pularidad como objeto de estudio, las exploraciones textuales sobre anime fantástico rara vez se aventuran más allá de las coordenadas temáticas o históricas de sus argu- mentos. El presente artículo persigue atender a la relación entre la intricada narración de dos series televisivas significativas dentro del fantástico en el anime —Kurozuka y Madoka Magica— y la representación de las brujas que las protagonizan. Mediante el uso de las categorías narratológicas de la autoconsciencia y de la cognoscibilidad inda- 1 El autor quiere hacer constar el apoyo de las fuentes de financiación de esta investigación: Conselle- ria d’Educació, Investigació, Cultura i Esport de la Generalitat Valenciana y Fondo Social Europeo de la Unión Europea (ref. APOSTD/2019/067). Universitat Jaume I, proyectos «Análisis de identidades en la era de la posverdad.
    [Show full text]
  • GCLC-BT Conference 5 December 2005, London Competition Law and Media Content
    GCLC-BT Conference 5 December 2005, London Competition Law and Media Content I. MORNING SESSION 9:00 – 9:10 General introduction to the conference Damien Geradin Director of the GCLC Paolo Palmigiano Head of Competition and Regulatory Law, BT Retail 9:10 – 9:30 Welcome words Dan Marks CEO TV Services, BT Paolo Palmigiano Head of Competition and Public Law, BT Retail SESSION 1: THE LAW AND ECONOMICS OF MEDIA CONTENT 9:30 – 10:00 The economics of media content Stefan Szymanski Professor of Economics, Tanaka Business School, Imperial College London 10:00 – 10:30 Overview of the legal framework applicable to the media content Romano Subiotto Partner, Cleary Gottlieb 10:30 – 10:50 Coffee break SESSION 2: REGULATORY AND COMPETITION LAW APPROACHES TO MEDIA CONTENT IN THE EU, THE UK, AND THE US 10:50 – 11:10 The situation in the EU Speaker from the European Commission to be advised 11:10 – 11:30 The situation in the UK Becket McGrath Partner, Berwin Leighton Paisner 11:30 – 11:50 The situation in the US John Thorne Deputy General Counsel, Verizon 11:50 – 12:20 Roundtable discussion 12:20 – 13:30 Lunch break II. AFTERNOON SESSION 13:30 – 13:50 Tomorrow’s world – How will the media content industry look like in the future SESSION 3: CURRENT ISSUES REGARDING MEDIA CONTENT Chairman: Bernard Amory, Partner, Jones Day 13:50 – 14:10 Competition law issues raised by exclusivity Didier Théophile Partner, Darrois, Villey, Maillot et Brochier 14:10 – 14:30 Cross platform bundling of rights Andrea Appella Vice President & Associate General Counsel - Time Warner Europe 14:30 – 14:50 Collective selling and buying of premium content rights Helmut Brockelman Partner, Martinez Lage & Associados 14: 50 – 15:20 Commentators Dr.
    [Show full text]
  • Nikkei Foundation, Organized the Since the Hawaiian the Story of Japanese Americans
    2 FEB. 20-MAR. 5, 2009 COMMENTARY /LETTERS PACIFIC E! CmZEN !fila' PAC I FI C ~.CITIZEN L~tters to the Editor· 250 E. First Street, Ste. 301, Los Angeles, CA. 90012 Guantanamo in the mail today. Thank you very much. r Tel: 213/620-1767, eqjoyed reading aU the articles. I am a senior 800/966-6157 An almost unnoticed article appeared in a citizen and I worked in Japantown before Fax: 213/620-1768 recent edition of Newsweek addressing the E-mail: [email protected] issue of where to put the Guantanamo World War II. www.pacificcitizen.org detainees once the detention center is closed. It haS been suggested that these Gitmo prison­ YUKI KUMAKI Executive Editor: South Holland, JII. Caroline Y. Aoyagi-Stom ers l?e placed in existing federal facilities such Assistant Editor: as Fort Leavenworth. Howling protests arose Lynda Lin Pos,ter Boy for from not only the governor of Kansas but Re: Oshogatsu Office Manager: Member$hip Recruitment from other gO,vernors fearful of having their I enjoyed the column by Margie Yamamoto Brian Tanaka in the special New Year's issue so much I I enjoyed reading the interview ofu' Brian states involved in the move. Circulation: wanted to share my experience with Japanese Eva Lau-Ting Moriguchi in the Feb. 6-20 edition of the The major argument? It would pose a dan­ Pacific Citizen. The courage Brian dis­ ger to their community. This argument sounds New Year with yOlL . ~erican Publisher: Japanese Citizens played in challenging his racist superior offi­ similar to those arguments presented during I am the Italian American spouse of a League (founded 1929) 1765 Sutter Street, cers and paying the price for it these many the intemment of Japanese AmericaiIs during Japanese gentleman who came to the States San Francisco, CA 94115, tel: 4151921- in 1969 to attend university and has been here years was inspiring: wwn.
    [Show full text]
  • Ebook Download the Heroic Legend of Arslan 3 Kindle
    THE HEROIC LEGEND OF ARSLAN 3 PDF, EPUB, EBOOK Hiromu Arakawa | 192 pages | 14 May 2015 | Kodansha America, Inc | 9781612629742 | English | New York, United States The Heroic Legend of Arslan 3 PDF Book In the second part, Arslan, now king of Pars, divides himself between defending his country against several external threats, including Silvermask, who is still at large, seeking to claim the throne for himself, and addressing the needs and hopes of his subjects. He is also familiar with Persian history, which Arslan Senki is based on. Perhaps I will give the anime a try after I read the last volume that I own the fourth. These novels were illustrated by manga artist and character-designer Yoshitaka Amano whose other works include the character design for several Final Fantasy games and for Vampire Hunter D. The first episode was released in , and the last in The thirteen-volume manga was written by Tanaka and illustrated by Chisato Nakamura. However, this does not confirm that the series would not return. Ultra Super Pictures Bushiroad. Reportedly,Good Doctor Season 4 have recently released a trailer for the show. Unsourced material may be challenged and removed. I'd also love to hear what Edward Said thinks of this series the Orient orientalizing the Orient? It feels like things need to slow down a bit so I can properly get 3. Hence, Arslan Senki Season 3 does not have any source material to promote. Additional information Networks Anime. My guess is no, but it's not entirely impossible. Please help improve this article by adding citations to reliable sources.
    [Show full text]
  • Animagazin 1. Sz. (2021. Január 20.)
    Téli szezon 2021 Összeállította: Hirotaka Anime szezon 019 2.43: Seiin Koukou Danshi Volley-bu Back Arrow Ex-Arm regény alapján original manga alapján Stúdió: Stúdió: Stúdió: David Production Studio VOLN Visual Flight Műfaj: Műfaj: Műfaj: iskola, sport akció, fantasy, mecha akció, sci-fi, seinen Seiyuuk: Seiyuuk: Seiyuuk: Umehara Yuuichirou, Ono Kenshou, Ozawa Ari, Kitou Akari, Komatsu Mikako Ono Kenshou, Aou Shouta Kaji Yuki Leírás Ajánló Leírás Ajánló Leírás Ajánló Haijima Kimichika röp- Röplabdás anime, Ringarindo területét Egy új mecha sorozat, Natsume Akira egy Már kétszer elhalasz- labdajátékos, visszaköltözik ami nem a Haikyuu. De fal veszi körül, védi és óvja rég láttunk ilyet, a műfaj középsulis diák, akinek csak tott címről van szó, talán Fukuiba, ahol a gyerekkorát hát ki mondta, hogy nem az ott élőket. A fal az isten, rajongói mostanában kicsit az agyát sikerült megmen- most elindul. Nekem hir- töltötte. Itt újra találkozik üthet más a labdába az is- és Ringarindo alapja. el vannak hanyagolva, szó- teni egy tragikus közleke- telen Robotzsaru érzetem egykori barátjával, Kuroba mert cím mellett. Egy re- Egy nap, egy rejtélyes val ez most jól jön. A Studio dési baleset után. Most az lett tőle. Főleg akcióköz- Yunival, akivel egy régi ve- gényadaptációról van szó, férfi, aki Back Arrownak ne- VOLN (Ushio to Tora, Kara- EX-ARM különleges rendőri pontú animének néz ki, sok szekedés miatt romlott meg ami 2015 óta fut. A David vezi magát megjelenik Essha kuri Circus (AniMagazin 50.)) egységgel működik együtt, harccal. Egy 2015-2019 kö- a viszonya. Elkezdik a Seiin Productionról csak annyit faluban. Arrow elvesztette a fogja készíteni, akik eddigi hogy visszaszerezze elve- zött készült mangát adap- középiskolát és csatlakoz- mondok, hogy JoJo és Ha- memóriáját, csak egy dolog- szerény felhozataluk elle- szett emlékeit és testét.
    [Show full text]
  • Oh My Goddess!: V. 16 Pdf, Epub, Ebook
    OH MY GODDESS!: V. 16 PDF, EPUB, EBOOK Kosuke Fujishima | 240 pages | 11 Jan 2011 | Dark Horse Comics,U.S. | 9781595825940 | English | Milwaukie, United States Oh My Goddess!: v. 16 PDF Book Light and Shadow: The kid plans to cause all time to stop and everything to stay eternally frozen in one time. Charlenia Kirkes rated it it was amazing Oct 21, Animage in Japanese. Vanguard: High School Arc Cont. Kodansha Manga Award — General. Overview Ever since a cosmic phone call brought the literal young goddess Belldandy into college student Keiichi's residence, his personal life has been turned upside down, sideways, and sometimes even into strange dimensions! Inara rated it really liked it Jan 21, Anime International Company. Lists with This Book. Other books in the series. A seal exists between the demon world and Earth, named the Gate to the Netherworld. Chapters Ah! Currently, no plans exist for licensing that special OVA episode. Volume Demons have similar class and license restrictions, and are accompanied by familiars instead of angels. It premiered in the November issue of Afternoon where it is still being serialized. Ryo-Ohki —present Oh My Goddess! Wikimedia Commons Wikiquote. Policenauts It was okay. Oh My Goddess!: v. 16 Writer These include the spirits of Money, Wind, Engine and such. There are no discussion topics on this book yet. Tamagotchi — Inazuma Eleven — Usaru-san Tamagotchi! This Fandom wiki is currently inactive. Tokyo , Japan : Tokuma Shoten. Released in concert with the OVA series in , [17] Smith has since stated that he saw the title as a play on "Oh my god! White Fox.
    [Show full text]
  • The Next Production Revolution
    The Next Production Revolution IMPLICAtiONS FOr GOVErnMEntS AND BUSinESS The Next Production Revolution IM P L I CA ti O N S FO S r GOVE rn ME nt S A S N D BUS in ESS The Next Production Revolution IMPLICATIONS FOR GOVERNMENTS AND BUSINESS This report, except Chapters 2 and 5, was approved and declassified by the OECD Committee for Scientific and Technological Policy (CSTP) on 17 April 2017 by written procedure. Chapter 2 was approved and declassified by the Committee for Digital Economy Policy on 12 February 2017 by written procedure. Chapter 5 was approved and declassified by the Environment Policy Committee on 30 January 2017. The report was prepared for publication by the OECD Secretariat. This document, as well as any data and any map included herein, are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. Please cite this publication as: OECD (2017), The Next Production Revolution: Implications for Governments and Business, OECD Publishing, Paris. http://dx.doi.org/10.1787/9789264271036-en ISBN 978-92-64-27099-2 (print) ISBN 978-92-64-27103-6 (PDF) ISBN 978-92-64-27115-9 (ePub) The statistical data for Israel are supplied by and under the responsibility of the relevant Israeli authorities. The use of such data by the OECD is without prejudice to the status of the Golan Heights, East Jerusalem and Israeli settlements in the West Bank under the terms of international law. Photo credits: Cover © Willyam Bradberry/Shutterstock.com.
    [Show full text]
  • Animagazin 5. Sz. (2013. Szeptember 16.)
    Őszi anime premierek (a kimaradt TV soro- Sato Junichi és az zatok a későbbi olda- Amazing Twins lakon kerülnek bemu- Hírek AniMagazin Sato Junichi a Sailor Moon, Ka- tatásra): // leido Star stb alkotója új animével jelentkezik. A címe Zetsumetsu Kigu Szeptember: Shōjo Amazing Twins. Satónak 10 4-én: Hazai hírek Watanabe Shinichiro év óta ez az első saját munkája. Mari - Genshiken Nidaime új animéje Okada (Ano Hana) fogja írni a for- Special (BD) gatókönyvet és segédkezik a törté- 5-én: Rendezvények A Cowboy Bebop és a Samu- netben is, Takehito Harada pedig a - Tamagotchi! Miracle rai Champloo rendezője új anime karakter dizájnért felel. A főhős To- Friends (TV) Íme itt vannak a következő tv-sorozatot készít, melynek címe doroki Amane egy őszinte, érzékeny, Space Dandy. A főszereplő Dandy ám kissé buta lány és minden helyzet- 7-én: hónapokban megrendezésre kerülő ☆ robotjával és macskájával Meow-val ben igyekszik teljes erővel küzdeni. - Captain Harlock (Film) conok időpontjai. Cosplayer Expo: 2013. 09. 21. karöltve átszelik az univerzumot ed- 11-én: (tehát ehét szombat), helyszín: Mil- dig felfedezetlen földönkívüli fajok ANN - Free! Special (BD) lenáris után kutatva. A műfaját tekintve 13-án: Őszi Mondocon: 2013. 10. 5.-6., vígjáték lesz. Az anime 2014 január- - Chihayafuru (OAD) helyszín: Hungexpo jában startol, az animációs stúdió a - Terra e… Film Extra Bones lesz. (BD) ANN 14-én: - Code Geass: Boukoku no Akito 2 – Hikisaka- Anime reshi Yokuryuu (Film) - Takanashi Rikka Kai: Chuunibyou demo Koi Monogatari folytatás ga Shitai! (Film) 19-én: A monogatari történetek újabb - Yahari Ore no Seishun darabja a Hanamonogatari jövőre Love Comedy wa Machi- kerül a tv képernyőkre.
    [Show full text]
  • Jormungand, Volume 4 Pdf, Epub, Ebook
    JORMUNGAND, VOLUME 4 PDF, EPUB, EBOOK Keitaro Takahashi | 192 pages | 10 Aug 2010 | Viz Media, Subs. of Shogakukan Inc | 9781421532189 | English | San Francisco, United States Jormungand, Volume 4 PDF Book Title page [ edit edit source ] Karen Low vs. Jormungand —The name of the giant snake from Norse mythology, created by the wicked god Loki, ran through Rentaro's head. Two sides are sculptured , one Hedin Selland Hogni Ragnar. Sword Oratoria Volume 4. Koko then heads for the airport, on the way commenting that Africa is one hell of a place. Jonah is a child soldier, born amidst the chaotic conflicts that rage across West Asia, his family lost to a war fueled by weapons supplied by the so-called Merchants of Death--international arms dealers. About this product Product Information Death is their business, and business is good. Archived from the original on When the citizens of this Norn Germanicia Available Stock Add to want list Add to cart Fine. It was probably a Stage Three. Volume 3 - 1st printing. Sign in to Purchase Instantly. The "Common Knowledge" section now includes a "Series" field. Valmet agrees, stating that she too was unable to grasp anything. Volume 10 - 1st printing. However Schokolade points out that this would make Koko more attractive to deal with and that if she is dead Scarecrow will not be able to get anything out of her. A number of women are dropping by for relaxing meals, including the capable waterworks guildmaster, a storied mercenary, and the witch of the woods. This means the head and tail must be next to Cyprus, just as Add to cart Very Fine.
    [Show full text]
  • Research on Information Industry Innovation Model Under the Background of Integration of Industrialization and Informatization
    ·588· Proceedings of the 7th International Conference on Innovation & Management Research on Information Industry Innovation Model under the Background of Integration of Industrialization and Informatization Huang Jinsong School of Economics, Huazhong University of Science and Technology, Wu Han, P.R.China, 430074, (E-mail: [email protected]) Abstract The development of information industry innovation is an important driving force to promote adjustment of national industrial structure, the integration of industrialization and informatization has brought new opportunities and challenges to the development of information industry innovation. This paper defines the basic content of the information industry innovation, describes the relationship among integration of industrialization, informatization and information industry innovation, based on which analyses main content and models of the information industry innovation. Key words Integration of industrialization and informatization; Information industry; Innovation 1 Introduction It is a hot new research on industry innovation. Different scholars from different angles gave various interpretations on the connotation of industry innovation. It is generally believed that the concept of industry innovation was first proposed by the British economist, Freeman (1997)[1]. He believed that industry innovation including skills and technology innovation, product innovation, process innovation and management innovation and market innovation. Industry innovation includes sub-macro and micro
    [Show full text]
  • Open Kuehn Dissertation Final Draft.Pdf
    The Pennsylvania State University The Graduate School College of Communications PROSUMER-CITIZENSHIP AND THE LOCAL: A CRITICAL CASE STUDY OF CONSUMER REVIEWING ON YELP.COM A Dissertation in Mass Communications by Kathleen M. Kuehn © 2011 Kathleen M. Kuehn Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2011 The dissertation of Kathleen Kuehn was reviewed and approved* by the following: Patrick Parsons Professor of Telecommunications Dissertation Adviser Chair of Committee Michael Elavsky Assistant Professor of Film/Media Studies Matthew P. McAllister Professor of Film/Media Studies Michelle Miller-Day Associate Professor of Communication Arts and Sciences Marie Hardin Associate Professor of Journalism Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School. ii ABSTRACT Over the past few years, content developers searching for new markets have found a potentially lucrative consumer base in local and location-based services as new media platforms have begun to “expand” their focus to hyper-local place-based communities. This shift to “local 2.0” has given birth to “local listing sites,” an emerging social medium that converges the content of traditional Yellow Pages, consumer-generated content and the interactive features of social network sites. Such sites harness the productive power of “prosumers,” the hybrid subjectivity of new media users who simultaneously produce and consume online content (Tapscott & Williams, 2006). These sites capitalize on the productivity of users who create discourses through and about local consumption by voluntarily rating and reviewing local businesses and services, challenging the power of institutions traditionally responsible for the production of consumer culture and reputation management (e.g., local business owners, marketers, advertisers, professional critics).
    [Show full text]
  • … … Mushi Production
    1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.
    [Show full text]