Thoughts On Cinematography And Anime
Cinema and animation share an intertwined history, whether one means the animated movies shown in theaters, or an inspiration of cinematic devices in the animation itself. And anime really crystallizes the blurred border between the two, as TV anime refers to a production model mostly based on seasonals airing weekly, and yet shows birthing from TV anime can wind up at the core of a movie shown in theaters.
What does anime even mean? Some may say it’s animation emerging from Japan, though the shortage of animators is reinforcing the importance of outsourcing. Which can lead to production issues, such as that of Isekai Ojisan, that began airing in Summer 2022, and whose last episode has been delayed and may air someday in 2023 — the reason for such a delay seems to be the recent COVID-19 outbreak in China, as well as the draconian rules of the government. Some people also blame Aniplex for production issues, especially since Ayakashi Triangle is also delayed.
Another more interesting answer might be that anime is the animated production that results from a certain production model. As for its origin, Astro Boy may be mentioned first for its historical significance, dating back to Winter 1963. But it is also particular for being, according to MyAnimeList, “the first television anime series to air in a 30-minute programming slot. It was broadcast by Fuji Television and aired on Tuesdays when broadcast began in 1963.” In other words, broadcast on a weekly basis for 4 years and in a regular time-slot, close to the 24-minute episode.
Cost-saving processes were introduced thanks to Astro Boy, for instance what became known as limited animation. Through more than half a century, anime has been defined with a similar production model, so it makes sense that some people associate the anime style with limited animation, like we’ve seen in the character acting piece.
However, anime movies differ in a few points from TV anime. First off, there is no broadcast time-slot, which also means there is no hype marketing going on at a seasonal level, though trailers matter a lot — in the Shirobako movie, that aptly focused on an anime movie, the previous trailers done for the movie marketed it under a certain title, that had to be kept for its actual production. Also, there is hopefully budget so as to match the expectations of the audience. To conclude, the movie director matters more than when the show is divided by multiple episode directors. Storytelling has to be done differently to fit the criteria of a movie compared to a series.
We have dealt with roughly defining anime on a general basis, as well as the differences between TV anime and anime movies. But we would also benefit from caring about its reception. A seasonal anime can generate a lot of buzz on social media, or the voice actors can participate to shows, air on radio, the director can be interviewed… All that is advertisement; but one may also consider it the show’s packaging.
Going to a theater with friends, being gifted illustrations and goodies like a pin, having a lottery be organized, seeing the movie on the big screen… All that makes up the cinematic experience of anime, more sensual and tangible than mere streaming and the endless noise of social media. It’s also a way for anime fans overseas to more directly contribute financewise to support the anime industry.
But cinema techniques are also in use within anime itself, and by that is meant purely the technical side of animation. For instance, take the traveling of a camera to bring more dynamism to a specific scene. This was done in shows both prominent like Chainsaw Man, and less popular like in My Life as Inukai-san’s Dog (the ecchi seasonal about the dog Umwelt). In the latter case, as the show is about wish-fulfillment then the traveling is about immersion.
Motion capture is also in use in cinema movies, and was used in the (in)famous Ex-Arm that aired in Winter 2021. Real stunt actors were hired by the production, and the director had previously worked on live-action. Though the result was rather awkward at best, and it appears both the staff’s inexperience and inability to budget correctly may be to blame (or Crunchyroll), Ex-Arm can still be mentioned to have an interesting action. Lessons are mostly learnt from failures!
Another cinematic reference is often used as a device to figurate flashbacks, or the past. That of using a monochromatic filter, and adding some noise reminiscent of the old film technology. It is so often used that it avoids the need for an example to be given. And maybe that one can also mention formats, as Kanata no Astra is interesting for using or changing black bars around its episodes.
Though free-spirited in its flow, this article succeeded in its primary goal, that of jotting down thoughts on the link that may exist between cinematography and anime. Indeed, I was spurred to write on the topic because I have seen a few times the word ‘cinematography’ thrown around when discussing anime, and just couldn’t take it at face value.
We have seen that TV anime often uses cinematic techniques and are still roughly directed by directors despite an episodic structure, and that anime movies may be closer to cinema movies due to the importance of a single director. That anime movies have a different packaging and are experiences that stand out in themselves. It is most likely that when one uses ‘cinematography’, one refers to the style of a director, or an animator when given significant freedom to execute the cut.
However, I believe that the term should be reserved for when there is a great significance in what is being depicted, and when the depiction is spectacular in itself — maybe even being worthy of the name sakuga. For instance, Eiga Daisuki Pompo-san features scenes where Gene Fini edits footage, something that even occurs behind the scenes of anime. It is shown with spectacular animation, and the dull boy acquires a dazzling nature that greatly emphasizes his inner conflict.
What’s more, the particular experience of being at a movie theater in front of an imposing screen, with loud speakers, when one belongs in an assembly of spectators, and when the theater may be built so that the chair can tremble, or wind or heat can be used to transform the viewership’s experience… all this can heighten the impact of the sakuga cinematography. Able to leave lifelong memories within the eyes of the beholder.
