A 1981 roundtable focusing on anime background art, featuring Takamura Mukuo and his colleagues Katsumi Handô, Hiroya Yamura and Shûji Konno. Followed by a commentary on the sociology of background artists and the changing roles of anime background art through time.
Tag: Farewell Galaxy Express 999
Ashi Production and the Pers-kun movement
Following 1979’s Galaxy Express 999, Yoshinori Kanada had become one of the top animators in Japan and would go on to be an inspiring figure for many of the artists that emerged throughout the following decade. The early 80s especially witnessed what industry members at the time called a sudden “Pers-kun movement” - “Pers” being short for “Kanada Perspective”, and “Pers-kun” the (slightly derogatory) term to indicate young animators who wanted to imitate their idol Kanada. The large-scale effect of this “movement” was to make Kanada-style animation one of the defining traits of 80s anime. But if we look closer, it was anything but a given: Kanada himself had to establish a reputation and contacts, while old and new animators alike did not immediately adopt the new trend. The goal of this article will precisely be to retrace through what channels Kanada’s style exported itself outside of the animator’s immediate circle of students, and in particular in one studio: Ashi Production.
Yoshinori Kanada and the nature of animation
assumption of this series, and the reason why it has tried to trace how Kanada’s influence spread and changed over the years. However, I have said little in depth about what Kanada and his students brought to the medium of animation—in other words, why was Kanada important, beyond simply earning so many fans and followers? This is what I’d like to try and uncover here.
One of the most notable aspects of Kanada’s career is that, while he never directed anything by himself, he was closely associated with major directors: first Yoshiyuki Tomino, and then Rintarô and Hayao Miyazaki. His relationship with the latter two is what I’m going to research here. More precisely, I’d like to see how animator and directors worked together and reciprocally pushed each other in new directions. The goal will be to explore Kanada’s animation in detail, to investigate and try to uncover what was his, what were his innovations, and what must be credited to other people: directors, animation directors, and other animators.