Relationship between Japanese and American Animation Traditions - Essay Example

Student’s Name Professor’s Name Institution’s Name Course Date Relationship between Japanese and American Animation Traditions Introduction The continuous generation of imageries on the screen forms a very interesting environment for the people who elaborate having amusing and enjoying themselves. Animation theory has gained major grounds in the film production industry in the recent times because of the ever increasing creativity in the animation subsector such as cartoons and other science fiction products (Alan, page 234). Animation is defined as the art of creatively directing and making a film or a video production by using animal pictures and behavioral traits which depict the human behaviors and the supernatural power associated with the human thinking. The graphic designers are able to take a video of an animal behavior, improvise it using sound drives to bring about an independent character to play a certain role in the film (Leslie, page 167). This technology is important in that it creates an imaginary picture of some of the earliest animals on earth and so it can be used for as a learning tool to impart creativity to scholars in the film industry. Animation theory can be traced back in time to the drawings and paintings in the caves where early man were believed to have lived in the evolution time (Moore, page 287). The animals are usually represented as having had multiple legs in awkward posture positions, in an attempt to create motion awareness. The trickeries used in creating such a gorgeous sites can pose a major challenge; but the animal film producers know the expectations of the viewer which they are able to implement it to the final product hence creating that fascinating episode for every viewer to identify with. Imagery devises were started very long time ago, animation did not establish at a faster rate until later in the advent of cinema ology era when animals came boozing with creativity and Cinemax investments all over the world (Leslie, page 167). The cinematograph was designed by Auguste and Louis Lumière in 1894. This was a multi-purpose mechanism which contained a camera, copier and projector which were able to capture moving pictures and show them on the screen. The Communal and Political Impact of Animated Images on Society Culture Well developed animation movies have the advantage attract and maintain the audience anxiety; they often prove exaggeration because the audience has to suggest what is expected to happen next (Alan, page 234). Many of these kinds of films developed and channeled towards the computer, but due to the technological changes on communal culture and basic values, the viewers always trust that they are watching a normal and properly-acted art work which is well produced by the artist. The most popular beliefs of the community are manifesting in animation images, hence their positive sociological together with cultural practices is influenced by the community in which the audience comes from. The general public influence is always used as a guide and to inspire characters and major topics in the filming animation movies. The story behind an animation fabrication has to be creative and exact towards the expected audience. They are worried about socio-cultural design of the people’s personality which is seen as an important factor in context of the film production. The affiliation between genre and culture has to be clearly acknowledged before any invention is approved for the purpose of future review in film production industry (Alan, page 234). This stage is what called the success levels of the movie production because it ascertains how the audience accepts, understands and measure the film quality. Societal factors are pertinent in ascertaining the language, age group, spectator’s taste, characters, animation information, among other factors in assessing a production. This is because the ubiquitous cultural and political issues form the main components that override film makers’ knowledge; simply because it is a decision that revolves around the business. It can thus be eventually argued that the society’s cultural qualities directly sway the content in animation theories and its inventions. Society can not happen to be in isolation, indicating that the moral and political effect on socio-cultural designs of behavior cannot be forgotten in the film. The political philosophy, legal strategies, commands and religious principles always have the power to influence themes and history regarding animation productions (Alan, page 234).What is considered satisfactorily or advantageous to one person, state, continents or religion, may not be regarded important to others but it could demonstrate the manner in which the film is produced. It follows that politics and leadership regime always guide the content of animation film through a series of legislation and policies which guides its production (Leslie, page 167). Connection between Japanese and American Animation Traditions The main purpose of both American and Japanese animators is to narrate a story in an animated film and they use both digital and local methods in their production (Bordwell and Thompson page 466). To highlight the reaction in characters actions, both are using tricks, eagerness, opportune music, jam, stretch and overstatement to tell their story (Griffin, page 892). They also allow both of them follow the doctrines of animation and necessitate an absolute commitment to the craft. And therefore there is one that can be said to be better than the other in terms of production. All of them rely on the likeness and preference of the target audience in which it is intended to address Animations from Japans are also known as Anime and they are liked by the American audience. However, animation supporters and animators have always measured Japanese animation as indolent and American cartoon style to be more of comical (Griffin, page 892). There are no immense variances in the two styles, however, apart from those found in the plan of characters, smartness and pictorial look. Anime inventions are unique in the generating the personality human beings that have big eyes with, comprehensive color, lesser noses and mouths, and deep highlights. The style itself uses numerous angles and elegant, diminished lines (Alan, page 234). Features such as eyelashes, hair, and mode of dressings are portrayed in good detail. The color frequently uses more alternatives and shading, with more courtesy paid to non-sketched highlights and glooms to increase the depth. On the other hand, American animations are grouped in those films that contain comic-book style called realism or obviously overstated, laughable caricature characters with curvy, highly inflated features (Leslie, page 167).There is usually contain less information, focused rather than using trickeries of style to suggest the feature in more subtle, inconspicuous fashion, and less devotion to shading instead of hard block colors to be preserved in dramatic pictures that needs in it. The leading difference between the two films is in content and the listeners. Many animated produced movies are cartoons aimed at entertaining children as their main audience, but in japan, anime made to entertain both the children and young adults who are fond of using them during their leisure time. To reveal both socio-political and racial impacts of the animation theory, the young adult and very young children animation have varied content because of the difference in the two ways of life of the people producing the films. What is seen important for children in Japanese films may not be considered necessary in American movies and this reveals great difference between the two. This generates the differences in the content between the two contexts American animation contains many original animated motion of which many of them is applied cyclically. Anime adopts numerous cheats and long scenes in which only the mouth of a character changes during the provision of key evidence. They also have the potential to show quick gesture while an actor is not moving in an action. This movement is positioned against an instant-movement and stylized upbringing that requires minimum animation movements (Moore, page 87). In relation to style, the American animation, with a few omissions, tends to apply straight-on camera shots to illustrate events, and is not bothered to use cinematic angles and dramatics which is commonly applied in other films produced by different countries. On the other hand, Anime employ overstated angles, outlooks, and skyrockets to intensify the temperament of act and show actions that contain dangerous results in the film. It is very easy to acknowledge that people of Japan have more knowledge of the American cultures than the Americans (Moore, page 87). This is because there is no equity in the both the political and economical connections which exist between the cultures of those two groups of people. The difference can also be realized because the frequency of getting the information is also different regarding their cultures. There could be more information which each of them receives but the biasness of each group may lead to argument about the culture of each other which makes the information about culture to reach many people. The Race and Different Sex Factor in Animation Theory Currently, socio-cultural issues influences connections and habitual patterns such as race, sex difference, demographics and customs as these are always indicated in animated films produced to attract large population (Moore, page 87). Children have got the opportunity to get more information regarding the world from the most common animated films such as Aladdin. The stereotypes that are influenced by race and the sex difference may not be true as when they may have been in films which were produced long time ago (Alan, page 234). They always have the potential to reveal very problematic information and stereotypes in a manner that surprise many people who listen to those movies. In fact, as indicated in Disney Animation plays, race and gender are used as the tool used to portray diversity variables that can make people to feel either privileged or being disadvantaged in certain ways, mechanically, passionately or financially. The impact these issues have been felt on education, relaxation, games, trade, governance and growth was seen to be very remarkable during those times when animated films were being introduced. The characters, melodies and music in these animated films have been culturally exaggerated (Alan page 234). The inspiration of animation theory in learning are demonstrated through the expansions of scientific centers, techniques and approaches, and event to be used as education equipment for scholars of varied age brackets who consider them important. However, animation theory also has unwanted impact on society (Alan, page 234). This is based on the ideologies which are arising on the changes which are encountered by children who have been the audience of these products. Contemporary animated moves have generated some social vulnerability problems which expose young people to material and practices which are not suitable or unseen before. These leads to a quantifiable degree of distaste in some regions, gender teams and races which have never had the opportunity to view these films. The Effect of Animated Stereotypes on Cultural Values The consequences of the animated films industry on culture can not be highly stressed because cultural issues are always in then subject of any film which is produced to entertain huge audience. Culture is a channel of beliefs, traditions, virtues, insolences and lifestyles a group people who live in the same community (Bordwell and Thompson, page 145). Culture is also defined as a groups of individual persons such as nations or more categorized groups such like team of players who stay together for a common goal (Susan, page 423). They will adopt a certain way of life which makes them to unite together while performing a given task. The culture of individuals influences the way they perceive people of different sex, tradition, age, incapacity, sexuality, cultural dynamics and work behaviors. Establishment of cultural assumption means that the community members must believe that some person have specific values and feelings which is related to their cultural way of life (Griffin, page 892). Acknowledging cultural assumptions and how their operations are very important in examination of the relevance and effect of animated flick storylines (Moore, page 87). The protocols of these films use cultural assumptions to capture their potential listeners who are interested in the animated films (Laurie and Stuart, 321). Sometimes, viewing an animated produced film helps to acknowledge the troubles which are experienced, challenges encountered by various people of different sexes and age groups, people who come from the same family and lifestyle issues, ethnic background and future prospects challenges; among other cultural matters which are experienced in the society (Leslie, page 167). Conclusion It is necessary to remember that various cultures confer clarifications and meaning to separate cultural variables. Establishing cultural stereotypes affects the behavior and personalities of a person. Some of these expectations are superficial and are not correct; therefore great attention should be used not to develop stereotypes on the race, background, age or sex from viewing animated films (Susan, page 423). Animation theory has to put into consideration all the cultural stereotypes when they are producing their films with the aim of giving relevance, increase market niche and preference of their films to most people. Work Cited Moore, O. Savage Theory: Cinema as Modern Magic. Durham: Duke University Press, 2000, page 87. Susan N, Anime: From Akira to howl’s Moving Castle Experiencing Contemporary Japanese Animation, New York Palgrave, 2005, page 423. Leslie, E. Hollywood Flatlands: Animation, Critical Theory and the Avant-garde. NY: Verso, 2002, page 167. Griffin, Sean. Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out. New York: New York University Press, 2000, page 892 Alan C, the Animation of Cinema, the Semiotic Review of Books, vol. 18, no. 2, 2008, page 234. Laurie D and Stuart S. Flash Frames: a New Pop Culture. Shapiro, eds. New York: Watson-Guptill Publications, 2002 page 321. Bordwell, D and Thompson, K. Film Art: an Introduction. New York: McGraw Hill, 2001 .page 466. Eisentstein, S. Eisentstein on Disney, ed. Naum Kleinman, trans. Alan Upchurch. New York: Methuen, 1988, page 145 Read More

They are worried about socio-cultural design of the people’s personality which is seen as an important factor in context of the film production. The affiliation between genre and culture has to be clearly acknowledged before any invention is approved for the purpose of future review in film production industry (Alan, page 234). This stage is what called the success levels of the movie production because it ascertains how the audience accepts, understands and measure the film quality. Societal factors are pertinent in ascertaining the language, age group, spectator’s taste, characters, animation information, among other factors in assessing a production.

This is because the ubiquitous cultural and political issues form the main components that override film makers’ knowledge; simply because it is a decision that revolves around the business. It can thus be eventually argued that the society’s cultural qualities directly sway the content in animation theories and its inventions. Society can not happen to be in isolation, indicating that the moral and political effect on socio-cultural designs of behavior cannot be forgotten in the film. The political philosophy, legal strategies, commands and religious principles always have the power to influence themes and history regarding animation productions (Alan, page 234).

What is considered satisfactorily or advantageous to one person, state, continents or religion, may not be regarded important to others but it could demonstrate the manner in which the film is produced. It follows that politics and leadership regime always guide the content of animation film through a series of legislation and policies which guides its production (Leslie, page 167). Connection between Japanese and American Animation Traditions The main purpose of both American and Japanese animators is to narrate a story in an animated film and they use both digital and local methods in their production (Bordwell and Thompson page 466).

To highlight the reaction in characters actions, both are using tricks, eagerness, opportune music, jam, stretch and overstatement to tell their story (Griffin, page 892). They also allow both of them follow the doctrines of animation and necessitate an absolute commitment to the craft. And therefore there is one that can be said to be better than the other in terms of production. All of them rely on the likeness and preference of the target audience in which it is intended to address Animations from Japans are also known as Anime and they are liked by the American audience.

However, animation supporters and animators have always measured Japanese animation as indolent and American cartoon style to be more of comical (Griffin, page 892). There are no immense variances in the two styles, however, apart from those found in the plan of characters, smartness and pictorial look. Anime inventions are unique in the generating the personality human beings that have big eyes with, comprehensive color, lesser noses and mouths, and deep highlights. The style itself uses numerous angles and elegant, diminished lines (Alan, page 234).

Features such as eyelashes, hair, and mode of dressings are portrayed in good detail. The color frequently uses more alternatives and shading, with more courtesy paid to non-sketched highlights and glooms to increase the depth. On the other hand, American animations are grouped in those films that contain comic-book style called realism or obviously overstated, laughable caricature characters with curvy, highly inflated features (Leslie, page 167).There is usually contain less information, focused rather than using trickeries of style to suggest the feature in more subtle, inconspicuous fashion, and less devotion to shading instead of hard block colors to be preserved in dramatic pictures that needs in it.

The leading difference between the two films is in content and the listeners. Many animated produced movies are cartoons aimed at entertaining children as their main audience, but in japan, anime made to entertain both the children and young adults who are fond of using them during their leisure time.

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