While the idea of a unified “Ghibli aesthetic” or “style” is debatable at best, it makes no doubt that all the animators mentioned here brought something different to their work outside the studio. The first element was quality, a result both of their talent and of the formation they had received before or after they started collaborating with Ghibli. The second element is more difficult to grasp, and is closer to what one may refer to as a “style”: something in common to almost all of their approaches to animation. The goal of this article is not only to point out its characteristics and evolution, but also to situate it within a wider context: indeed, the period between 1986 and 1991 is a key one in anime history, as it saw the emergence of a new school of thought and style: realism. Although quantitatively minor, the work of those 6 Ghibli-related animators in fact played a central role in the spread of the realist aesthetic.
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.