Word usage
In Japan, the term anime does not specify an animation's nation of origin or style; instead, it serves as a blanket term to refer to all forms of animation from around the world.English-language dictionaries define anime as "a Japanese style of motion-picture animation" or as "a style of animation developed in Japan". Non-Japanese works that borrow stylization from anime are commonly referred to as "anime-influenced animation" but it is not unusual for a viewer who does not know the country of origin of such material to refer to it as simply "anime". Some works result from co-productions with non-Japanese companies, such as most of the traditionally animated Rankin/Bass works, the Cartoon Network and Production I.G series IGPX or Ōban Star-Racers; different viewers may or may not consider these anime.
In the UK, many video shops will classify all adult-oriented animated videos in the Anime section for convenience, regardless of whether they show any stylistic similarities to Japanese animation, although there is no evidence that this has led to any change in the use of the word.[citation needed]
In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?"). However, in casual usage the word also appears as a count noun. Anime can also be used as a suppletive adjective or classifier noun ("The anime Guyver is different from the movie Guyver").
Synonyms
English-speakers occasionally refer to anime as "Japanimation", but this term has fallen into disuse.[21] "Japanimation" saw the most usage during the 1970s and 1980s, but the term "anime" supplanted it in the mid-1990s as the material became more widely known in English-speaking countries. In general, the term now only appears in nostalgic contexts.Although the term was coined[by whom?] outside Japan to refer to animation imported from Japan, it is now used primarily in Japan, to refer to domestic animation[citation needed]; since "anime" does not identify the country of origin in Japanese usage, "Japanimation" is used to distinguish Japanese work from that of the rest of the world.
In Japan, "manga" can additionally refer to both animation and comics (although the use of "manga" to refer to animation mostly occurs only among non-fans).[citation needed] Among English speakers, "manga" usually has the stricter meaning of "Japanese comics", in parallel to the usage of "anime" in and outside of Japan. An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK, the term occurs commonly outside Japan.[citation needed] The term "ani-manga" has been used[by whom?] to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.
Visual characteristics
Many commentators refer to anime as an art form. As a visual medium, it can emphasize visual styles. The styles can vary from artist to artist or from studio to studio. Some titles make extensive use of common stylization: FLCL, for example, has a reputation for wild, exaggerated stylization. Other titles use different methods: Only Yesterday or Jin-Roh take much more realistic approaches, featuring few stylistic exaggerations; Pokémon uses drawings which specifically do not distinguish the nationality of characters.
While different titles and different artists have their own artistic styles, many stylistic elements have become so common that people[who?] describe them as definitive of anime in general. However, this does not mean that all modern anime share one strict, common art-style. Many anime have a very different art style from what would commonly be called "anime style", yet fans still use the word "anime" to refer to these titles. Generally, the most common form of anime drawings include "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."
The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the anime style. The round ink brush traditionally used for writing kanji and for painting, produces a stroke of widely varying thickness.
Anime also tends to borrow many elements from manga, including text in the background and panel layouts. For example, an opening may employ manga panels to tell the story, or to dramatize a point for humorous effect. See for example the anime Kare Kano.
Character design
Proportions
Body proportions emulated in anime come from proportions of the human body. The height of the head is considered[by whom?] as the base unit of proportion. Head heights can vary as long as the remainder of the body remains proportional. Most anime characters are about seven to eight heads tall, and extreme heights are set[by whom?] around nine heads tall.
Variations to proportion can be modded[by whom?]. Super-deformed characters feature a non-proportionally small body compared to the head. Sometimes specific body parts, like legs, are shortened[by whom?] or elongated for added emphasis. Most super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons. For exaggeration, certain body features are increased[by whom?] in proportion.
Eye styles
Many anime and manga characters feature large eyes. Osamu Tezuka, who is believed to have been the first to use this technique, was inspired by the exaggerated features of American cartoon characters such as Betty Boop, Mickey Mouse, and Disney's Bambi. Tezuka found that large eyes style allowed his characters to show emotions distinctly. When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later shōjo artists tended to follow.
Coloring is added to give eyes, particularly to the cornea, some depth. The depth is accomplished by applying variable color shading. Generally, a mixture of a light shade, the tone color, and a dark shade is used.[29][30] Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.
However, not all anime have large eyes. For example, some of the work of Hayao Miyazaki and Toshiro Kawamoto are known for having realistically proportioned eyes, as well as realistic hair colors on their characters. In addition many other productions also have been known to use smaller eyes. This design tends to have more resemblance to traditional Japanese art.[original research?] Some characters have even smaller eyes, where simple black dots are used. However, many western audiences associate anime with large detailed eyes.[citation needed]
Facial expressions
Anime characters may employ wide variety of facial expressions to denote moods and thoughts. These techniques are often different in form than their counterparts in western animation.
There are a number of other stylistic elements that are common to conventional anime as well but more often used in comedies. Characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stress mark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale). Embarrassed characters either produce a massive sweat-drop (which has become one of the most widely recognized motifs of conventional anime) or produce a visibly red blush or set of parallel (sometimes squiggly) lines beneath the eyes, especially as a manifestation of repressed romantic feelings. Some anime, usually with political plots and other more serious subject matters, have abandoned the use of these techniques.
Animation technique
Like all animation, the production processes of storyboarding, voice acting, character design, cel production and so on still apply. With improvements in computer technology, computer animation increased the efficiency of the whole production process.
Anime is often considered a form of limited animation. That means that stylistically, even in bigger productions the conventions of limited animation are used to fool the eye into thinking there is more movement than there is. Many of the techniques used are comprised with cost-cutting measures while working under a set budget.
Anime scenes place emphasis on achieving three-dimensional views. Backgrounds depict the scenes' atmosphere. For example, anime often puts emphasis on changing seasons, as can be seen in numerous anime, such as Tenchi Muyo!. Sometimes actual settings have been duplicated into an anime. The backgrounds for the Melancholy of Haruhi Suzumiya are based on various locations within the suburb of Nishinomiya, Hyogo, Japan.
Camera angles, camera movement, and lighting play an important role in scenes. Directors often have the discretion of determining viewing angles for scenes, particularly regarding backgrounds. In addition, camera angles show perspective. Directors can also choose camera effects within cinematography, such as panning, zooming, facial closeup, and panoramic.
The large majority of anime uses traditional animation, which better allows for division of labor, pose to pose approach and checking of drawings before they are shot – practices favoured by the anime industry. Other mediums are mostly limited to independently-made short films,examples of which are the silhouette and other cutout animation of Noburō Ōfuji, the stop motion puppet animation of Tadahito Mochinaga, Kihachirō Kawamoto and Tomoyasu Murata and the computer animation of Satoshi Tomioka (most famously Usavich).
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