Business Description
A century after its birth, animation continues to evolve. The most exciting developments are found on two distinct fronts: the anime (“animation”) of Japan and the prime-time television cartoons of the United States. An offspring of the dense, novelistic style of Japanese manga comic books and the cut-rate techniques developed for television production in 1960, anime such as Miyazaki Hayao’s Princess Mononoke (1997) are the modern equivalent of the epic folk adventures once filmed by Mizoguchi Kenji (The 47 Ronin, 1941) and Kurosawa Akira (Yojimbo, 1961; “The Bodyguard”). Kon Satoshi’s Perfect Blue (1997) suggests the early Japanese New Wave films of director Oshima Nagisa with its violent exploration of a media-damaged personality.
U.S. television animation, pioneered in the 1950s by William Hanna and Joseph Barbera (Yogi Bear, The Flintstones) was for years synonymous with primitive techniques and careless writing. But with the debut of The Simpsons in 1989, TV animation became home to a kind of mordant social commentary or outright absurdism (John Kricfalusi’s Ren and Stimpy) that was too pointedly aggressive for live-action realism. When Mike Judge’s Beavis and Butt-Head debuted on the MTV network in 1993, the rock-music cable channel discovered that cartoons could push the limits of censorship in ways no live-action television productions could. Following Judge’s success in 1997 were Trey Parker and Matt Stone with South Park, a series centred on foulmouthed kids growing up in the American Midwest and rendered in a flat, cutout animation style that would have looked primitive in 1906. The spiritual father of the new television animation is Jay Ward, whose Rocky and His Friends, first broadcast in 1959, turned the threadbare television style into a vehicle for absurdist humour and adult satire.
Despite these boundary-pushing advances, full-figure, traditionally animated films continue to be produced, most notably by Don Bluth (An American Tale, 1986), a Disney dissident who moved his operation to Ireland, and Brad Bird, a veteran of Simpsons minimalism who progressed to the spectacular full technique of The Iron Giant (1999). As digital imaging techniques continue to improve in quality and affordability, it becomes increasingly difficult to draw a clear line between live action and animation. Films such as The Matrix (1999), Star Wars: Episode One (1999), and Gladiator (2000), incorporate backgrounds, action sequences, and even major characters conceived by illustrators and brought to life by technology. Such techniques are no less creations of the animator’s art than were Gertie, Betty Boop, and Bugs Bunny.
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