Etude sur l'industrie du film, du manga et de l'anime au Japon

Woojeong Joo

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• Publié par: ActuaLitte.com
• Publié le: 06 juillet 2013
• Nombre de lectures: 684
• Langue: English
• Poids de l'ouvrage: 2 Mo

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Manga Movies Project Report 2:
Ja p a n ’ sCon t empora ry M a n ga ,A n i mea n d Fi lmIndu st ri es
Our AHRC Research Project examines
contemporary Japanese media franchising
and adaptation, from manga to the Dr Woojeong Joo and
movies. This report examines changes in Dr Rayna Denison, with Dr
J a pa n’s medi a i nd us tr i es f or m a ng a , a ni me Hiroko Furukawa
and film. It explains how these industries
School of Film, Television and Media are responding to a fast-changing global
Studies
media landscape.
University of East Anglia
To find out more see our website at:
http://www.mangamoviesproject.com


1 Jap an ’sCont emp or a r y

Manga, Anime and Film Industries





Report Summary:

Our investigations of the current manga, anime and film industries have revealed diverse patterns in their responses
to the fast-changing local and global media landscapes. The summary below highlights the areas where the greatest
similarities and divergences can be found:
 Decline in Weekly Manga Magazines: Weekly manga anthology magazines are in decline, and abroad have
already begun to be replaced by digital versions; whereas, in Japan, a more mixed set of digital and paper
releases continues.
 Steady Market for Tank ōbon: C ol l e c t i ons of ‘ e pi s ode s ’ of a s i ng l e ma ng a s t or i e si nt o tank ōbon (collected
editions) are remaining flat, but retaining their market in Japan; whereas, outside of Japan, the sales of
tankōbon have declined sharply since 2007, prompting transnational company closures and a shift to online
sales.
 Digital/Online Manga Publication?: The Japanese industry has yet to treat online publication as a core
strategy for popular texts, nor has it found a means to satisfactorily make online manga profitable in the
domestic market, which is largely a result of shifting technology platforms and a lack of an obvious
technological way forward.
 Possibilities for Expansion in Overseas Manga Markets: Transnational experiments in online manga are
among the most high-potential current digital manga experiments, opening up large markets like China to
wide-scale manga distribution.
 Making TV Anime at a Loss?: Our investigations outline the paths taken to pay back the expenses of
television broadcasting for anime, with profit sources ranging from ancillary merchandising, to franchising
and the production of live events all undertaken to recoup costs.
 Film and Anime use Seisakuiinkai: Production committees are a main route to off-setting costs and
organising the streams of textual production and management needed to produce both TV anime and live
action film hits.
 TV Anime Numbers Rising in the Long-Term: Despite short-term dips, the long-term picture shows booms
and plateaus in TV anime production that have raised the numbers of anime shown on Japanese TV across
time.
 Shinya Anime: Late night anime shows, with fewer restrictions and aimed at a more adult audience, have
become a major feature of the anime market over the past decade, creating a new origin point for anime
films.
 N e w A n i m e ‘ Cl a ssi cs’ : Teiban (classic) has become the term used to describe new anime that become
popular and subsequently get turned into huge multi-media franchises. They most often come from the
fam i l y a nd c hi l dre n’ sma r ke t sf or a ni me .

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 OVAs Reborn: Original Video Animation has returned, by-passing television through cinema exhibition and
releases straight-to-DVD and Blu-ray.
 The Studio Ghibli Effect : J a pa n’ spow e r -house animation studio has the power to not only skew the figures
for anime, but to massively impact the year-on-year figures for t h e w hol e of J a pa n’ sme di a ma r ke t si ncl ud i ng
the overall domestic box office, television broadcasting and DVD s a l e s . We du b t hi st h e ‘ G hi bl i e f f e c t ’ .
 Japanese Film Retakes Local Box-Office: In a major development not seen since the 1960s, Japanese
domestic films now routinely account for just over half of the box office in their home market.
 New Culture of Hit Filmmaking: There is a new la ng ua ge f or ‘ hi t ’ films in Japanese, with the top ‘ me ga hi t s ’
being those making over ¥5 billion. This has brought new producers into filmmaking in Japan, most notably
TV production companies.
 Rising Screen Numbers: A multiplex construction boom starting in the 1990s has seen huge rises in total
screen numbers in Japan, creating new kinds of filmgoing cultures and requiring more domestic film.
 DVD Market Declining?: We show how local films are still succeeding in the home video markets, despite
overall declines in DVD sales.
 TV Broadcasting and Hit Films: Hit films, often made by TV producers, are proving useful in the way they
create seasons of programming that draw large audiences. In this regard, serial film production aids TV
producers turned film producers.


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Report Purposes:
Each Section of this report is designed so that it can be read separately to, or in
conjunction with, the other sections. Readers are very welcome to dip into the
sections that interest them most.
This report is intended to provide an overview of major changes within three of
J a p a n ’ s b i gges t m ed i a i n d u s t r i es : m a n ga , a n i me a n d fi l m. I n d oi n g so, i t sup p or t s
our work in Report 1 and our wider r es ea r c h i n t o J a p a n ’ s c on t em p or a r y c r os s - or
transmedia franchising practices.
The contents of this report focus on manga, anime and film because these are the
major franchising industries identified during the Manga Movies research project.
We fully recognise that there are other important media industries in Japan, not
least of which are the game software and toy industries, but they tend to have a
more peripheral engagement with the kinds of franchising practices identified in
Report 1, so are not covered in this report.
Our examination of the manga, anime and film industries is intended to better
explain how these industries are developing in relation to, and differently from, one
another. This is important because the Japanese government and media industries
suggest that the global growth in Japanese media an d ‘ c on t en t s ’ (i nt el l ec t u a l
properties) has huge capacity for growth between the current time and 2020.
Moreover, current estimates place Japanese entertainment exports at only around
5 % o f t h e who l e of Ja p a n ’ s c r ea t i v e i nd u s t r y p r od u c t i on , m a ki n g t h e p o t ential
growth in this area enticing (Creative Industries Division of METI, Report 2012: 24).
Thi s r ep or t , t h er efor e, d i gs b en ea t h suc h fi gu r es t o s u ggest r ea s on s wh y Ja p a n ’ s
media industries remain locally rather than globally focused, and seeks to explain
where entry points for future collaboration and import/exports may exist.





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Aims:
This report aims to:
 Enable readers to dip into the sections most relevant to them – whether your
interests lie in manga, anime or film, there should be useful information for you.
 Provide an overview and analysis of three of the major media industries in Japan
that take part in transmedia franchising;
 Examine the structures, profitability and new innovations within the manga, anime
and film industries of Japan;
 Analyse current trends in production within all three industries;
 Consider the impacts of the Tohoku Disaster on 11 March, 2011 on those
industries;
 Offer evidence-based analysis in order to demystify why particular kinds of media
texts are being produced in Japan.


Methods:

We utilise the same method as that applied in Report 1; namely, a mixed approach combining political
economic (Meehan, 1998; Wasko, 2005) and cultural industries approaches (Hesmondhalgh, 2007) to examine
industrial structures and practices. In addition, we use an historical materialist reception studies methodology
(Staiger, 2000; Klinger, 1994 and 1997) to analyse the discourses around Japanese media franchising. Our main
resources have been dominated by Japanese and English language sources, including: statistics from the Motion
P i c t ure P r odu c e r s ’ As s oc i a t i on of J a pa n ( Ei r e n) ; a nn ua l r e port sf r om J a pa ne s e m e di a c omp a ni e s ; J a pa ne s e a nd
English-language academic studies of Japanese industry practices; Japan External Trade Organisation (JETRO) reports;
U ni J a pa n’ sr e port son t he J a pa ne s e f i l m i nd us t r y a nd m a t e r i a l sc ol l a t e d f r om J a pa ne s e a nd Am e r i c a n ne w s a nd
popular press sources.
We f oc us mos t on t he ‘ c on t e mp or a r y’ pe r i od, w hi c h i she r e i n defined as the period since 2004. We have
chosen this period because it encapsulates t