Flanders is among the most well-known works in the World Masterpiece Theater canon, both in Japan and overseas; it is perhaps the most famous outside of the select list of Isao Takahata’s entries in the series. Such fame is not surprising when one considers Flanders’ tragic finale, and the fact that this ultimate episode reportedly reached the highest audience rating in the history of the World Masterpiece Theater - an impressive 30.1%. However, it is also questionable whether such fame is really deserved - indeed, Flanders is perhaps the most imperfect show among 1970’s World Masterpiece Theater entries. There is of course a sort of contradiction here - how is it that such a poorly made series became so popular? The aim of this article is precisely to answer this - to illustrate the elements that make Flanders a subpar work, and to understand how it could have been such a success nevertheless.
In today’s landscape, this evolution and, possibly, a new development in action animation seems to be represented by two rising figures: Hiroto Nagata and Ryûki Hashimoto. At first sight, this pairing might seem strange, since both men come from opposite ends of the industry and have never worked together. Despite their distance, they share a close proximity in terms of style and, possibly, philosophy. The goal of this article will be to understand the nature of this proximity: I will first focus on each animator on his own, and then consider more generally what are their common points, and how they may open new ways for animation.
As people who follow me on Twitter might know, I had the opportunity to attend the 2021 Annecy festival - the most important festival dedicated to animation in the world. I had initially planned to release a few articles on the movies and works I’ve seen, but finally decided against it: the pieces I had started to make were simple (and, in my view, rather uninteresting) reviews, and their content didn’t really fit what I wanted for this blog. However, there is one movie that I feel the need to talk about, because watching it made me think a lot and realize many things on animation as a whole, my position towards it, why I like certain things and dislike others. That movie is The Crossing (La Traversée), a European film by Florence Miailhe which won the Jury Mention. What makes it stand out is not so much its beautiful and rather well-led plot, but its technique: it is entirely made by paint-on-glass.