This time, I talked with Bloodyredstar, aka Blou, sakuga fan and production assistant at Studio Tonton, currently making an amateur Naruto OP and ED.
In the previous essay in this series, I argued that one of the most important factors for the development of sakuga in Japan was the VCR and its widespread use during the 1980’s, when otaku culture in general was born and boomed. Go forward 20 or 25 years, and I think that you can find something of a similar situation in the West ; but the new technology was, obviously, not the same. It was, this time, the Internet.
This series on the sakuga is going to be half articles, half interviews of members of the community. This time, I got to talk with manuloz, French anime and sakuga fan, and admin of the (now dead) website manganimation.net
If you ask different people what “sakuga” is or means, chances are you’ll get different answers ; but all these answers will probably revolve around a few similar ideas : sakuga is good animation ; animation that stands out ; animation made by some talented animators, etc. All these definitions rely on remarkably vague terms (“good”, “standing out”, “talented”), but they all point out a certain awareness that there’s something going on. Animation is not just the things you see moving on the screen, or even the way they move. So to speak, animation is the way things are made to move, in specific ways and by specific people, enough to make it remarkable.
In my previous essay dedicated to Thomas Lamarre’s concept of animetism I argued that when studying animation, we shouldn’t just take into consideration space (how objects are distributed and move across the frame), but also time, which I believe is key to understanding the essence of movement. Indeed, movement is not just motion through space, … Continue reading Animation and subjectivity : towards a theory of framerate modulation
Thomas Lamarre’s The Anime Machine is undoubtedly one of the most important books dedicated to animation, and especially to anime. It manages to be at the same time a historical overview of anime and its techniques, a thorough analysis of some of its most prominent artists, and a compelling theory of animation and media in … Continue reading On animetism : or, the importance of sakuga to theory
Anime as relations of production What have we learned from our general overview ? That anime is difficult to define, obviously ; more precisely, that it is a shape-shifting phenomenon that changes depending on where you look at it from. This means that a definitive and all-inclusive definition is probably impossible. However, one can always … Continue reading Defining anime – Part 3