User:Stepbigboss

I'm Stephen Heng, i'm 16 years old, and i like to play video games on the Xbox 360. Why i take Business computer 11, is beacuse i want to learn something new this year.

History of Anime
In the 20th century, when Japanese filmmakers experimented with the animation techniques that were being explored in the West. During the 1970s, anime developed further, separating itself from its Western roots, and developing unique genres such as the mecha genre and its Super Robot subgenre. Notable shows in this period include Lupin III and Mazinger Z. During this period several filmmakers became famous, especially Hayao Miyazaki and Mamoru Oshii. In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production. The rise of Gundam, Macross, Real Robot and Space Opera set a boom as well. The film Akira set records in 1988 for the production costs of an anime film and went on to become a big success worldwide.in 2004, the same creators produced Steamboy, and later took over as the most expensive anime film. The Super Dimension Fortress Macross also became a worldwide success after being adapted as part of Robotech, and Megazone 23 also gained recognition in the West after it was adapted as Robotech: The Movie. In the 1990s and 2000s, anime series such as Dragon Ball, Pokémon, Sailor Moon and the film Ghost in the Shell became worldwide successes, while other anime series such as Gundam, Macross, Neon Genesis Evangelion and Cowboy Bebop were popular in Japan and attracted attention from the West.

First generation of Japanese animators
The reasons vary, but many are of commercial nature. After the clips had their big time, reels were sold to smaller cinemas in the country and then disassembled and sold as strips or single frames. Shimokawa Oten was a political caricaturist and cartoonist, who worked for the magazine Tokyo Puck. He was hired by Tenkatsu to do an animation for them.

Kitayama Seitaro was an early animator who made animations on his own, not hired by larger corporations. He even founded his own animation studio which was closed due to lack of commercial success.

In July 2005, an old animation film was found in Kyoto. This undated 3 seconds film, plainly titled Moving Picture consists of fifty frames drawn directly onto a strip of celluloid.It depicts a young boy in a sailor suit writing the kanji on a board, then turning towards the viewer, removing his hat, and offering a salute.The discoverer, Naoki Matsumoto, has speculated that it could be "up to 10 years older" than the previously first known Japanese animation, Imokawa Mukuzo Genkanban no Maki, released in 1917. However, while a date of circa 1915 is possible, there is no actual basis for this extreme speculation.

Second generation of Japanese animators
Murato Yosuji, Kimura Hakuzan, Yamamoto Sanae and Noburō Ōfuji were students of Kitayama Seitaro and worked at his film studio. In 1923, the Great Kantō earthquake destroyed most of the Kitayama studio and the residing animators spread out and founded studios of their own, knowing that one could make money with the production of animations.On the other hand, films that offered educational value were supported and encouraged by the Monbush. Hundreds of thousands of yen were spent for this purpose. Animation had found a persistent place in scholastic, political and industrial use, which lead to high demand of new content.

1970s
During the 1970s, the Japanese film market shrunk due to competition from television. This increased competition from television reduced Toei animation's staff and many animators went to studios such as A Pro and Telecom animation.As a result, many young animators were thrust into the position of director before they would have been promoted to it. This injection of young talent allowed for a wide variety of experimentation.

Another example of this experimentation is with Isao Takahata's 1974 television series Heidi, Girl of the Alps. This show was originally a hard sell because it was a simple realistic drama aimed at children. Most TV networks thought the TV show wouldn't be successful because children needed something more fantastic to draw them in. Miyazaki and Takahata left Nippon Animation in the late 1970s. Two of Miyazaki's critically-acclaimed productions during the 1970s were Future Boy Conan (1978) and Lupin III: The Castle of Cagliostro (1979).

1980s
This shift towards space operas became more pronounced with the commercial success of Star Wars. This allowed for the space opera Space Battleship Yamato (1973) to be revived as a theatrical film. Mobile Suit Gundam (1979), the first Real Robot anime, was also initially unsuccessful but was revived as a theatrical film in 1982. The success of the theatrical versions of Yamato and Gundam are seen as the beginning of the anime boom of the 1980s, which some consider the beginning of the "golden age of anime" which continues to the present day. This anime boom also marked the beginning of "Japanese Cinema's Second Golden Age".

Yamato animator Yoshinori Kanada allowed individual key animators working under him to put their own style of movement as a means to save money. In many more "auteuristic" anime this formed the basis of an individualist animation style unique to Japanese commercial animation. In addition, Kanada's animation was inspiration for Takashi Murakami and his Superflat art movement.

The otaku culture became more pronounced with Mamoru Oshii's adaptation of Rumiko Takahashi's popular manga Urusei Yatsura (1981). Yatsura made Takahashi a household name and Oshii would break away from fan culture and take a more auteuristic approach with his 1984 film Urusei Yatsura 2: Beautiful Dreamer. This break with the otaku culture would allow Oshii to experiment further.

One of the most influential anime of all time, Nausicaä of the Valley of the Wind (1984), was made during this time period. The film gave extra prestige to anime allowing for many experimental and ambitious projects to be funded shortly after its release. It also allowed director Hayao Miyazaki and his long time colleague Isao Takahata to set up their own studio under the supervision of former Animage editor Toshio Suzuki. This studio would become known as Studio Ghibli and its first film was Laputa: Castle in the Sky (1986), one of Miyazaki's most ambitious films.

Sports anime as now known made its debut in 1983 with an anime adaptationYoichi Takahashi's football manga Captain Tsubasa, which became the first worldwide successful sports anime leading its way to create themes and stories that would create the formula that would later then be used in many sports series that soon followed such as Slam Dunk, Prince of Tennis and Eyeshield 21.

1990s
The late 1990s also saw a brief revival of the Super Robot genre that was once popular in the 1960s and 1970s but had become rare due to the popularity of Real Robot shows such as the Gundam and Macross series in the 1980s and psychological Mecha shows such as Neon Genesis Evangelion in the 1990s. The revival of the Super Robot genre began with GaoGaiGar in 1997 in response to "post-Evangelion" trends, but there were very few popular Super Robot shows produced after this, until Tengen Toppa Gurren Lagann in 2007.

The 1990s also saw the popular video game series, Pokémon, spawn an anime television show lasting several seasons, a Broadway production, several anime movies, a trading card game, toys, and much more. Other 1990s anime series which gained international success were Dragon Ball Z and Sailor Moon; the success of these shows marked the beginning of the martial arts superhero genre and the magical girl genre respectively. In particular, Dragon Ball Z was dubbed into more than a dozen languages worldwide.

An art movement started by Takashi Murakami that combined Japanese pop-culture with postmodern art called Superflat began around this time. Murakami asserts that the movement is an analysis of post-war Japanese culture through the eyes of the otaku subculture. His desire is also to get rid of the categories of 'high' and 'low' art making a flat continuum, hence the term 'superflat'. His art exhibitions are very popular and have an influence on some anime creators particularly those from Studio 4°C.

2000s
The "Evangelion-era" trend continued into the 2000s with Evangelion-inspired mecha anime such as RahXephon (2002) and Zegapain (2006) - RahXephon was also intended to help revive 1970s-style mecha designs. The experimental late night anime trend popularized by Serial Experiments Lain also continued into the 2000s with experimental anime such as Boogiepop Phantom (2000), Texhnolyze (2003), Paranoia Agent (2004) and Gantz (2004).

The 1970s-style Super Robot genre revival started by GaoGaiGar (1997), continued into the 2000s, with several remakes of classic series such as Getter Robo and Dancougar as well as original properties created in the Super Robot mold like Godannar and Gurren Lagann. In particular, Gurren Lagann combined the genre with elements from 1980s Real Robot shows as well as 1990s "post-Evangelion" shows. Gurren Lagann received both the "best television production" and "best character design" awards from the Tokyo International Anime Fair in 2008.[13] This eventually culminated in the release of Shin Mazinger in 2009, a full-length revival of the first Super Robot series, Mazinger Z.

Anime based on eroge and visual novels increased in popularity in the 2000s, building on a trend started in the late 90s by such works as Sentimental Journey (1998) and To Heart (1999). Examples of such works include Green Green (2003), SHUFFLE! (2006), Kanon (2002 and 2006), Fate/Stay Night (2006), Higurashi no Naku Koro ni (2006), Ef: A Tale of Memories (2007) and True Tears (2008).

In contrast to the above mentioned phenomenon, there have been more productions of late night anime for a non-otaku audience as well. The first concentrated effort came from Fuji TV's Noitamina block. The 30 minute late Thursday timeframe was created to showcase productions for young women of college age, a demographic that watches very little anime. The first production 'Honey and Clover' was a particular success, peaking at a 5% TV rating in Kantou, very strong for late night anime. The block has been running uninterrupted since April 2005 and has yielded many successful productions unique in the modern anime market.

The 2000s also saw the revival of high-budget feature-length anime films, such as Millennium Actress (2001), Appleseed (2001), Paprika (2006), and the most expensive of all being Steamboy (2004) which cost $26 million to produce.

In 2008, the Japanese government created the position of Anime Ambassador and appointed Doraemon as the first Anime Ambassador to promote anime worldwide in diplomacy.