In the 70’s, TMS and its subcontractors managed to create two aesthetics of their own, one centered around the A Pro comedies and the other the Madhouse dramas. Despite how innovative and influential these might have been, TMS was missing the tidal change known as the “SF boom” that started in 1974, with Space Battleship Yamato and risked, because of that, to fail to attract anime’s new audience, young men in highschool or older that would form the first generation of otaku. But the studio profoundly influenced early otaku culture with a series so enduring it’s still alive today : that was Lupin III.
The second half of the 1970’s was no doubt a transitional period for Tokyo Movie. As a whole, the anime industry had set up a stable structure that would only be modified in the middle of the 80’s by the otaku boom and the new OVA format. But for Tokyo Movie and its subcontractors, this was a time of big change, marked by the separation between A Pro and Tokyo Movie in 1976. The consequences were unexpected : A Pro’s staff scattered and its most talented members would do the groundwork of Studio Ghibli. But before that, Tokyo Movie profited the most from this outpouring of talent.
Last time, I covered the changes in anime from the perspective of the industry : how studios evolved, how staff moved from one place to the other, and how anime’s production processes became closer to what we know today. Now, it’s time to look at it from the perspective of the shows themselves : how their style, staff and animation are unique to that specific time period - one so exceptional that it could rightfully be called Tokyo Movie’s golden age.
During the 60's, Tokyo Movie, still a small studio, laid low and only produced one new show in 1967, the SF-manga adaptation Perman. But they were working hard behind the scenes and made their first two historical moves : overseeing the creation of a new studio, A Production ; and a new revolutionary anime in 1968, Star of the Giants.