hello david, karena anda tampaknya masih ngotot,saya singkap saja deh bukti2 mengenai fakta bahwa Les paul is indeed the founder of MTR.ini ada link artikel dari internet beserta urlnya,dan silahkan baca lagi bahwa yg anda kemukakan mengenai les paul tidak pernah mengatakan dirinya sebagai penemu MTR adalah tidak benar.dia terang2an mengatakan dialah pionirnya MTR.silahkan membaca interview dibawah ini beserta potongan2 artikel lain.selamat membaca,dan semoga sekarang anda dengan sportif mengakui fakta bahwa Les Paul MEMANG penemu teknik rekaman apa yang sekarang kita kenal dengan nama MULTITRACK Recording technique.
suka tidak suka,ngaku tidak ngaku toh tetap saja sejarah telah mencatat les paul sebagai penemu MTR,bukan jojon,timbul,atau orang lain,tapi ya LES PAUL.ok!semoga puasss
Sandy Nasution
http://groups.yahoo.com/group/musicroom/
BUKTI-BUKTI BAHWA LES PAUL ADALAH PIONIR DAN PENEMU TEKNIK MULTITRACK RECORDING:
http://www.jinxmagazine.com/les_paul.html
The following interview took place on July 19, 1999 at the Iridium jazz club across from Lincoln Center in New York City.
DS: How did that come to be used for radio?
LP: What happened is that I was the person that invented sound on sound recording, making it possible for multitrack recording. I went from sound on sound to the actual one inch tape with eight tracks on it. I was the first one to invent, to create and use sound on sound, multitrack recording.
DS: Was the first application of that for radio?
LP: It was for me, for experimenting. It happened to be that I was doing it for a radio show.
DS: Was this after you already had your radio show?
LP: It was my radio show. That's what I invented (multitrack recording) for. To replace the disc, and go to tape, to make a multitrack recording. Sound on sound recording. Later to take it and make the one inch tape with eight tracks and stereo.
http://www.saskmug.org/newsletter%20Feb2002.pdf
Apple Receives Technical Grammy
For many people, the Grammy awards are an annual event
wherein the music recording industry congratulates itself for selling
lots of albums, and shamelessly uses the occasion to sell a few more
albums by putting some hot-selling acts and half-naked celebrities on
prime time television. Beginning in 1994, however, the Recording
Academy began awarding technical Grammys for individuals and
companies which have made ø¦ontributions of outstanding technical
significance to the recording field.?Past winners include Les Paul (a
pioneer of the electric guitar and multitrack recording), Ray Dolby
(noise reduction technology), Digidesign (high-end digital recording
tools), and George Massenburg (parametric EQ, mix automation, and
other production tools).
http://mmd.foxtail.com/Archives/Dige....07.21.04.html
Les Paul and Magnetic Tape Recording
By Mickey Sadler
There is also interesting information of his inventions for the sound
recording industry such as "creating sound-on-sound, over-dubbing, the
electronic reverb effect and multi-track tape recording, he made the
first eight track recorder in the late 1940s by stacking eight Ampex
tape machines and synchronizing them", his involvement with Bing Crosby
and Colonel Dick Ranger and the Magnetophone tape recorder brought back
from Germany during WW2.
potongan artikel tambahan:
1. Les Paul wins 'Technical Grammy'
Legendary guitarist Les Paul has been named a recipient of a 2001 Technical Grammy from the Recording Academy (NARAS). The award, which will be formally acknowledged February 21 during the 43rd Annual Grammy Awards ceremony, honors individuals and companies who have made contributions of outstanding technical significance to the recording field.
"Les Paul's contributions to both the technology and art of music are immeasurable." says Gibson Chairman and CEO Henry Juszkiewicz.. "Gibson is proud and, indeed, honored to have worked with Les for almost fifty years. His work and music continue to inspire us all."
"The foundations of multitrack recording laid by Les . . . continue to enable generations of artists, engineers and producers to expand the creative boundaries of recorded music," Academy president/CEO Michael Greene said in a statement. The products of his inspiration and dedication "have revolutionized the recording industry," Greene said.
2. Multitrack Recording and the "New Sound"
With tape machines, Les was the first to practice what Les referred to as "sound-on-sound" recording. He discovered that he could record a musical part, then record a second part, transfer it to another tape machine, and then repeat the process as many times as you wanted. Although Les called it sound-on-sound, we know it today as Multitrack Recording. This technique made his records sound different from what everyone else was doing.
SALAM,
Sandy Nasution----.
Selasa, 24 November 2009
Anime
Animé" redirects here. For the oleo-resin, see Animé (oleo-resin).
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Anime (アニメ?, an abbreviated pronunciation in Japanese of "animation", pronounced [anime] ( listen) in Japanese, but typically Anime-en-US-pronunciation.ogg /ˈænəˌmeɪ/ (help·info) or /ˈænəˌmə/ in English) is animation originating in Japan. The world outside Japan regards anime as "Japanese animation".[1] Anime originated about 1917.[2]
Anime, like manga (Japanese comics), has a large audience in Japan and high recognition throughout the world. Distributors can release anime via television broadcasts, directly to video, or theatrically, as well as online.
Both hand-drawn and computer-animated anime exist. It is used in television series, films, video, video games, commercials, and internet-based releases, and represents most, if not all, genres of fiction. Anime gained early popularity in East and Southeast Asia and has garnered more-recent popularity in the Western World.
History
Main article: History of anime
Screenshot from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film
Anime began at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States, and Russia.[3] The oldest known anime in existence first screened in 1917 – a two-minute clip of a samurai trying to test a new sword on his target, only to suffer defeat.[4][5] The first talkie anime was Chikara to Onna no Yo no Naka, released[by whom?] in 1933.[6][7]
By the 1930s, animation became an alternative format of storytelling to the underdeveloped[citation needed] live-action industry in Japan. Unlike in the United States, the live-action industry in Japan remained a small market and suffered from budgeting, location, and casting restrictions. The lack of Western-looking actors, for example, made it next to impossible to shoot films set in Europe, America, or fantasy worlds that do not naturally involve Japan. Animation allowed artists to create any characters and settings.[8]
The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs influenced Japanese animators.[9] In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation-techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation staff.
The 1970s saw a surge of growth in the popularity of manga – many of them later animated. The work of Osamu Tezuka drew particular attention: he has been called[by whom?] a "legend"[10] and the "god of manga".[11][12] His work – and that of other pioneers in the field – inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "Mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century.
Terminology
Japanese write the English term "animation" in katakana as アニメーション (animēshon, pronounced [animeːɕoɴ]), and the term anime (アニメ) emerged in the 1970s as an abbreviation, though some[who?] state that the word derives from the French phrase dessin animé.[3][13] Japanese-speakers use both the original and abbreviated forms interchangeably, but the shorter form occurs more commonly.
The pronunciation of anime in Japanese, [anime], differs significantly from the Standard English /ˈænɪmeɪ/, which has different vowels and stress. (In Japanese each mora carries equal stress.) As with a few other Japanese words such as saké, Pokémon, and Kobo Abé, English-language texts sometimes spell anime as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography might suggest.
Word usage
In Japan, the term anime does not specify an animation's nation of origin or style; instead, it serves as a blanket term to refer to all forms of animation from around the world.[14][15] English-language dictionaries define anime as "a Japanese style of motion-picture animation" or as "a style of animation developed in Japan".[16] Non-Japanese works that borrow stylization from anime are commonly referred to as "anime-influenced animation" but it is not unusual for a viewer who does not know the country of origin of such material to refer to it as simply "anime". Some works are co-productions with non-Japanese companies, such as most of the traditionally animated Rankin/Bass works, the Cartoon Network and Production I.G series IGPX or Ōban Star-Racers; different viewers may or may not consider these anime.
In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?").[17] However, in casual usage the word also appears as a count noun. Anime can also be used as a suppletive adjective or classifier noun ("The anime Guyver is different from the movie Guyver").
Synonyms
English-speakers occasionally refer to anime as Japanimation, but this term has fallen into disuse.[18] Japanimation saw the most usage during the 1970s and 1980s, but the term anime supplanted it in the mid-1990s as the material became more widely known in English-speaking countries.[19] In general, the term now only appears in nostalgic contexts.[19] Although the term was coined[by whom?] outside Japan to refer to animation imported from Japan, it is now used primarily in Japan, to refer to domestic animation; since anime does not identify the country of origin in Japanese usage, Japanimation is used to distinguish Japanese work from that of the rest of the world.[19]
In Japan, manga can additionally refer to both animation and comics (although the use of manga to refer to animation mostly occurs only among non-fans).[citation needed] Among English speakers, manga usually has the stricter meaning of "Japanese comics".[citation needed] An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan.[citation needed] The term "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.[citation needed]
Visual characteristics
An example of the wide range of drawing styles anime can adopt
Many commentators refer to anime as an art form.[20] As a visual medium, it can emphasize visual styles. The styles can vary from artist to artist or by studio to studio. Some titles make extensive use of common stylization: FLCL, for example, is known for its wild, exaggerated stylization. Other titles use different methods: Only Yesterday or Jin-Roh take much more realistic approaches, featuring few stylistic exaggerations; Pokemon uses drawings which specifically do not distinguish the nationality of characters.[21]
While different titles and different artists have their own artistic styles, many stylistic elements have become so common that people[who?] describe them as definitive of anime in general. However, this does not mean that all modern anime share one strict, common art style. Many anime have a very different art style from what would commonly be called "anime style", yet fans still use the word "anime" to refer to these titles. Generally, the most common form of anime drawings include "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."[22]
The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the anime style. The round ink brush traditionally used for writing kanji and for painting produces a stroke of widely varying thickness.
Anime also tends to borrow many elements from manga, including text in the background, and borrowing panel layouts from the manga as well. For example, an opening may employ manga panels to tell the story, or to dramatize a point for humorous effect. See for example the well-known anime Kare Kano.
Character design
Proportions
Body proportions emulated in anime come from proportions of the human body. The height of the head is considered as the base unit of proportion. Head heights can vary as long as the remainder of the body remains proportional. Most anime characters are about seven to eight heads tall, and extreme heights are set around nine heads tall.[23]
Variations to proportion can be modded. Super deformed characters feature a non-proportionally small body compared to the head. Sometimes specific body parts, like legs, are shortened or elongated for added emphasis. Most super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons. For exaggeration, certain body features are increased in proportion.[23]
Eye styles
A common approach is the large eyes style drawn on many anime and manga characters. Osamu Tezuka, who is believed to have been the first to use this technique, was inspired by the exaggerated features of American cartoon characters such as Betty Boop, Mickey Mouse, and Disney's Bambi.[3][24] Tezuka found that large eyes style allowed his characters to show emotions distinctly. When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later shōjo artists tended to follow.
Coloring is added to give eyes, particularly to the cornea, some depth. The depth is accomplished by applying variable color shading. Generally, a mixture of a light shade, the tone color, and a dark shade is used.[25][26] Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[8]
However, not all anime have large eyes. For example, some of the work of Hayao Miyazaki and Toshiro Kawamoto are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.[27] In addition many other productions also have been known to use smaller eyes. This design tends to have more resemblance to traditional Japanese art.[original research?] Some characters have even smaller eyes, where simple black dots are used. However, many western audiences associate anime with large detailed eyes.[citation needed]
Facial expressions
Anime characters may employ wide variety of facial expressions to denote moods and thoughts.[28] These techniques are often different in form than their counterparts in western animation.
There are a number of other stylistic elements that are common to conventional anime as well but more often used in comedies. Characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stress mark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale).[29] Embarrassed characters either produce a massive sweat-drop (which has become one of the most widely recognized motifs of conventional anime) or produce a visibly red blush or set of parallel (sometimes squiggly) lines beneath the eyes, especially as a manifestation of repressed romantic feelings. Some anime, usually with political plots and other more serious subject matters, have abandoned the use of these techniques.
Animation technique
Main article: Animation
Like all animation, the production processes of storyboarding, voice acting, character design, cel production and so on still apply. With improvements in computer technology, computer animation increased the efficiency of the whole production process.
Anime is often considered a form of limited animation. That means that stylistically, even in bigger productions the conventions of limited animation are used to fool the eye into thinking there is more movement than there is.[3] Many of the techniques used are comprised with cost-cutting measures while working under a set budget.
Anime scenes place emphasis on achieving three-dimensional views. Backgrounds depict the scenes' atmosphere.[3] For example, anime often puts emphasis on changing seasons, as can be seen in numerous anime, such as Tenchi Muyo!. Sometimes actual settings have been duplicated into an anime. The backgrounds for the Melancholy of Haruhi Suzumiya are based on various locations within the suburb of Nishinomiya, Hyogo, Japan.[30]
Camera angles, camera movement, and lighting play an important role in scenes. Directors often have the discretion of determining viewing angles for scenes, particularly regarding backgrounds. In addition, camera angles show perspective.[31] Directors can also choose camera effects within cinematography, such as panning, zooming, facial closeup, and panoramic.[32]
The large majority of anime uses traditional animation, which better allows for the division of labor, pose to pose approach and checking of drawings before they are shot favoured by the industry.[33] Other mediums are mostly limited to independently-made short films,[34] examples of which are the silhouette and other cutout animation of Noburo Ofuji,[33][35] the stop motion puppet animation of Tadahito Mochinaga, Kihachirō Kawamoto[36] and Tomoyasu Murata[37] and the computer animation of Satoshi Tomioka[38] (most famously Usavich).[39]
Distribution
See also: Anime licensing
While anime had entered markets beyond Japan in the 1960s, it grew as a major cultural export during its market expansion during the 1980s and 1990s. The anime market for the United States alone is "worth approximately $4.35 billion, according to the Japan External Trade Organization".[40] Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air.
Anime distribution companies handled the licensing and distribution of anime beyond Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. Using a similar global distribution pattern as Hollywood, the world is divided into five regions.
Some editing of cultural references may occur to better follow the references of the non-Japanese culture.[41] Certain companies may remove any objectionable content, complying with domestic law. This editing process was far more prevalent in the past (e.g. Voltron), but its use has declined because of the demand for anime in its original form. This "light touch" approach to localization has favored viewers formerly unfamiliar with anime. The use of such methods is evident by the success of Naruto and Cartoon Network's Adult Swim programming block, both of which employ minor edits.[citation needed] Robotech and Star Blazers were the earliest attempts to present anime (albeit still modified) to North American television audiences without harsh censoring for violence and mature themes.
With the advent of DVD, it became possible to include multiple language tracks into a simple product. This was not the case with VHS cassette, in which separate VHS media were used and with each VHS cassette priced the same as a single DVD. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the original Japanese audio with subtitles, typically unedited. Anime edited for television is usually released on DVD "uncut", with all scenes intact.
TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime under the UHF. In the United States, cable TV channels such as Cartoon Network, Disney, Syfy, and others dedicate some of their timeslots to anime. Some, such as the Anime Network and the FUNimation Channel, specifically show anime. Sony-based Animax and Disney's Jetix channel broadcast anime within many countries in the world. AnimeCentral solely broadcasts anime in the UK.
Although it violates copyright laws in many countries, some fans add subtitles to anime on their own. These are distributed as fansubs. The ethical implications of producing, distributing, or watching fansubs are topics of much controversy even when fansub groups do not profit from their activities. Once the series has been licensed outside of Japan, fansub groups often cease distribution of their work. In one case, Media Factory Incorporated requested that no fansubs of their material be made, which was respected by the fansub community.[42] In another instance, Bandai specifically thanked fansubbers for their role in helping to make The Melancholy of Haruhi Suzumiya popular in the English speaking world.[43]
The Internet has played a significant role in the exposure of anime beyond Japan. Prior to the 1990s, anime had limited exposure beyond Japan's borders. Coincidentally, as the popularity of the Internet grew, so did interest in anime. Much of the fandom of anime grew through the Internet. The combination of internet communities and increasing amounts of anime material, from video to images, helped spur the growth of fandom.[44] As the Internet gained more widespread use, Internet advertising revenues grew from 1.6 billion yen to over 180 billion yen between 1995 and 2005.[45]
Influence on world culture
Anime has become commercially profitable in western countries, as early commercially successful western adaptations of anime, such as Astro Boy, have revealed.[46] The phenomenal success of Nintendo's multi-billion dollar Pokémon franchise[47] was helped greatly by the spin-off anime series that, first broadcast in the late 1990s, is still running worldwide to this day. In doing so, anime has made significant impacts upon Western culture. Since the 19th century, many Westerners have expressed a particular interest towards Japan. Anime dramatically exposed more Westerners to the culture of Japan. Aside from anime, other facets of Japanese culture increased in popularity.[48] Worldwide, the number of people studying Japanese increased. In 1984, the Japanese Language Proficiency Test was devised to meet increasing demand.[49] Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime.[50] Most of these works are created by studios in the United States, Europe, and non-Japanese Asia; and they generally incorporate stylizations, methods, and gags described in anime physics, as in the case of Avatar: The Last Airbender. Often, production crews either are fans of anime or are required to view anime.[51] Some creators cite anime as a source of inspiration with their own series.[52][53] Furthermore, a French production team for Ōban Star-Racers moved to Tokyo to collaborate with a Japanese production team from Hal Film Maker.[54] Critics and the general anime fanbase do not consider them as anime.[55]
Some American animated television-series have singled out anime styling with satirical intent, for example South Park (with "Chinpokomon" and with "Good Times with Weapons"). South Park has a notable drawing style, itself parodied in "Brittle Bullet", the fifth episode of the anime FLCL, released several months after "Chinpokomon" aired. This intent on satirizing anime is the springboard for the basic premise of Kappa Mikey, a Nicktoons Network original cartoon. Even clichés normally found in anime are parodied in some series, such as Perfect Hair Forever. Anime conventions began to appear in the early 1990s, during the Anime boom, starting with Anime Expo, Animethon, Otakon, and JACON. Currently anime conventions are held annually in various cities across the Americas, Asia, and Europe.[56] Many attendees participate in cosplay, where they dress up as anime characters. Also, guests from Japan ranging from artists, directors, and music groups are invited. In addition to anime conventions, anime clubs have become prevalent in colleges, high schools, and community centers as a way to publicly exhibit anime as well as broadening Japanese cultural understanding.[57]
Anime and American audiences
The Japanese term otaku is used in America as a term for anime fans, more particularly the obsessive ones. The negative connotations associated with the word in Japan have disappeared in its American context, where it instead connotes the pride of the fans. Only in the recent decade or so has there been a more casual viewership outside the devoted otaku fan base, which can be attributed highly to technological advances. Also, shows like Pokémon and Dragon Ball Z provided a pivotal introduction of anime's conventions, animation methods, and Shinto influences to many American children.
Ancient Japanese myths – often deriving from the animistic nature worship of Shinto – have influenced anime greatly, but most American audiences not accustomed to anime know very little of these foreign texts and customs. For example, an average American viewing the live-action TV show Hercules will be no stranger to the Greek myths and legends it is based on, while the same person watching the show Tenchi Muyo! might not understand that the pleated ropes wrapped around the "space trees" are influenced by the ancient legend of Amaterasu and Susano.[58]
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Anime
History • Companies
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International market
Longest series
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Leiji Matsumoto
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v • d • e
Anime (アニメ?, an abbreviated pronunciation in Japanese of "animation", pronounced [anime] ( listen) in Japanese, but typically Anime-en-US-pronunciation.ogg /ˈænəˌmeɪ/ (help·info) or /ˈænəˌmə/ in English) is animation originating in Japan. The world outside Japan regards anime as "Japanese animation".[1] Anime originated about 1917.[2]
Anime, like manga (Japanese comics), has a large audience in Japan and high recognition throughout the world. Distributors can release anime via television broadcasts, directly to video, or theatrically, as well as online.
Both hand-drawn and computer-animated anime exist. It is used in television series, films, video, video games, commercials, and internet-based releases, and represents most, if not all, genres of fiction. Anime gained early popularity in East and Southeast Asia and has garnered more-recent popularity in the Western World.
History
Main article: History of anime
Screenshot from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film
Anime began at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States, and Russia.[3] The oldest known anime in existence first screened in 1917 – a two-minute clip of a samurai trying to test a new sword on his target, only to suffer defeat.[4][5] The first talkie anime was Chikara to Onna no Yo no Naka, released[by whom?] in 1933.[6][7]
By the 1930s, animation became an alternative format of storytelling to the underdeveloped[citation needed] live-action industry in Japan. Unlike in the United States, the live-action industry in Japan remained a small market and suffered from budgeting, location, and casting restrictions. The lack of Western-looking actors, for example, made it next to impossible to shoot films set in Europe, America, or fantasy worlds that do not naturally involve Japan. Animation allowed artists to create any characters and settings.[8]
The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs influenced Japanese animators.[9] In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation-techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation staff.
The 1970s saw a surge of growth in the popularity of manga – many of them later animated. The work of Osamu Tezuka drew particular attention: he has been called[by whom?] a "legend"[10] and the "god of manga".[11][12] His work – and that of other pioneers in the field – inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "Mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century.
Terminology
Japanese write the English term "animation" in katakana as アニメーション (animēshon, pronounced [animeːɕoɴ]), and the term anime (アニメ) emerged in the 1970s as an abbreviation, though some[who?] state that the word derives from the French phrase dessin animé.[3][13] Japanese-speakers use both the original and abbreviated forms interchangeably, but the shorter form occurs more commonly.
The pronunciation of anime in Japanese, [anime], differs significantly from the Standard English /ˈænɪmeɪ/, which has different vowels and stress. (In Japanese each mora carries equal stress.) As with a few other Japanese words such as saké, Pokémon, and Kobo Abé, English-language texts sometimes spell anime as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography might suggest.
Word usage
In Japan, the term anime does not specify an animation's nation of origin or style; instead, it serves as a blanket term to refer to all forms of animation from around the world.[14][15] English-language dictionaries define anime as "a Japanese style of motion-picture animation" or as "a style of animation developed in Japan".[16] Non-Japanese works that borrow stylization from anime are commonly referred to as "anime-influenced animation" but it is not unusual for a viewer who does not know the country of origin of such material to refer to it as simply "anime". Some works are co-productions with non-Japanese companies, such as most of the traditionally animated Rankin/Bass works, the Cartoon Network and Production I.G series IGPX or Ōban Star-Racers; different viewers may or may not consider these anime.
In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?").[17] However, in casual usage the word also appears as a count noun. Anime can also be used as a suppletive adjective or classifier noun ("The anime Guyver is different from the movie Guyver").
Synonyms
English-speakers occasionally refer to anime as Japanimation, but this term has fallen into disuse.[18] Japanimation saw the most usage during the 1970s and 1980s, but the term anime supplanted it in the mid-1990s as the material became more widely known in English-speaking countries.[19] In general, the term now only appears in nostalgic contexts.[19] Although the term was coined[by whom?] outside Japan to refer to animation imported from Japan, it is now used primarily in Japan, to refer to domestic animation; since anime does not identify the country of origin in Japanese usage, Japanimation is used to distinguish Japanese work from that of the rest of the world.[19]
In Japan, manga can additionally refer to both animation and comics (although the use of manga to refer to animation mostly occurs only among non-fans).[citation needed] Among English speakers, manga usually has the stricter meaning of "Japanese comics".[citation needed] An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan.[citation needed] The term "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.[citation needed]
Visual characteristics
An example of the wide range of drawing styles anime can adopt
Many commentators refer to anime as an art form.[20] As a visual medium, it can emphasize visual styles. The styles can vary from artist to artist or by studio to studio. Some titles make extensive use of common stylization: FLCL, for example, is known for its wild, exaggerated stylization. Other titles use different methods: Only Yesterday or Jin-Roh take much more realistic approaches, featuring few stylistic exaggerations; Pokemon uses drawings which specifically do not distinguish the nationality of characters.[21]
While different titles and different artists have their own artistic styles, many stylistic elements have become so common that people[who?] describe them as definitive of anime in general. However, this does not mean that all modern anime share one strict, common art style. Many anime have a very different art style from what would commonly be called "anime style", yet fans still use the word "anime" to refer to these titles. Generally, the most common form of anime drawings include "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."[22]
The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the anime style. The round ink brush traditionally used for writing kanji and for painting produces a stroke of widely varying thickness.
Anime also tends to borrow many elements from manga, including text in the background, and borrowing panel layouts from the manga as well. For example, an opening may employ manga panels to tell the story, or to dramatize a point for humorous effect. See for example the well-known anime Kare Kano.
Character design
Proportions
Body proportions emulated in anime come from proportions of the human body. The height of the head is considered as the base unit of proportion. Head heights can vary as long as the remainder of the body remains proportional. Most anime characters are about seven to eight heads tall, and extreme heights are set around nine heads tall.[23]
Variations to proportion can be modded. Super deformed characters feature a non-proportionally small body compared to the head. Sometimes specific body parts, like legs, are shortened or elongated for added emphasis. Most super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons. For exaggeration, certain body features are increased in proportion.[23]
Eye styles
A common approach is the large eyes style drawn on many anime and manga characters. Osamu Tezuka, who is believed to have been the first to use this technique, was inspired by the exaggerated features of American cartoon characters such as Betty Boop, Mickey Mouse, and Disney's Bambi.[3][24] Tezuka found that large eyes style allowed his characters to show emotions distinctly. When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later shōjo artists tended to follow.
Coloring is added to give eyes, particularly to the cornea, some depth. The depth is accomplished by applying variable color shading. Generally, a mixture of a light shade, the tone color, and a dark shade is used.[25][26] Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[8]
However, not all anime have large eyes. For example, some of the work of Hayao Miyazaki and Toshiro Kawamoto are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.[27] In addition many other productions also have been known to use smaller eyes. This design tends to have more resemblance to traditional Japanese art.[original research?] Some characters have even smaller eyes, where simple black dots are used. However, many western audiences associate anime with large detailed eyes.[citation needed]
Facial expressions
Anime characters may employ wide variety of facial expressions to denote moods and thoughts.[28] These techniques are often different in form than their counterparts in western animation.
There are a number of other stylistic elements that are common to conventional anime as well but more often used in comedies. Characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stress mark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale).[29] Embarrassed characters either produce a massive sweat-drop (which has become one of the most widely recognized motifs of conventional anime) or produce a visibly red blush or set of parallel (sometimes squiggly) lines beneath the eyes, especially as a manifestation of repressed romantic feelings. Some anime, usually with political plots and other more serious subject matters, have abandoned the use of these techniques.
Animation technique
Main article: Animation
Like all animation, the production processes of storyboarding, voice acting, character design, cel production and so on still apply. With improvements in computer technology, computer animation increased the efficiency of the whole production process.
Anime is often considered a form of limited animation. That means that stylistically, even in bigger productions the conventions of limited animation are used to fool the eye into thinking there is more movement than there is.[3] Many of the techniques used are comprised with cost-cutting measures while working under a set budget.
Anime scenes place emphasis on achieving three-dimensional views. Backgrounds depict the scenes' atmosphere.[3] For example, anime often puts emphasis on changing seasons, as can be seen in numerous anime, such as Tenchi Muyo!. Sometimes actual settings have been duplicated into an anime. The backgrounds for the Melancholy of Haruhi Suzumiya are based on various locations within the suburb of Nishinomiya, Hyogo, Japan.[30]
Camera angles, camera movement, and lighting play an important role in scenes. Directors often have the discretion of determining viewing angles for scenes, particularly regarding backgrounds. In addition, camera angles show perspective.[31] Directors can also choose camera effects within cinematography, such as panning, zooming, facial closeup, and panoramic.[32]
The large majority of anime uses traditional animation, which better allows for the division of labor, pose to pose approach and checking of drawings before they are shot favoured by the industry.[33] Other mediums are mostly limited to independently-made short films,[34] examples of which are the silhouette and other cutout animation of Noburo Ofuji,[33][35] the stop motion puppet animation of Tadahito Mochinaga, Kihachirō Kawamoto[36] and Tomoyasu Murata[37] and the computer animation of Satoshi Tomioka[38] (most famously Usavich).[39]
Distribution
See also: Anime licensing
While anime had entered markets beyond Japan in the 1960s, it grew as a major cultural export during its market expansion during the 1980s and 1990s. The anime market for the United States alone is "worth approximately $4.35 billion, according to the Japan External Trade Organization".[40] Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air.
Anime distribution companies handled the licensing and distribution of anime beyond Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. Using a similar global distribution pattern as Hollywood, the world is divided into five regions.
Some editing of cultural references may occur to better follow the references of the non-Japanese culture.[41] Certain companies may remove any objectionable content, complying with domestic law. This editing process was far more prevalent in the past (e.g. Voltron), but its use has declined because of the demand for anime in its original form. This "light touch" approach to localization has favored viewers formerly unfamiliar with anime. The use of such methods is evident by the success of Naruto and Cartoon Network's Adult Swim programming block, both of which employ minor edits.[citation needed] Robotech and Star Blazers were the earliest attempts to present anime (albeit still modified) to North American television audiences without harsh censoring for violence and mature themes.
With the advent of DVD, it became possible to include multiple language tracks into a simple product. This was not the case with VHS cassette, in which separate VHS media were used and with each VHS cassette priced the same as a single DVD. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the original Japanese audio with subtitles, typically unedited. Anime edited for television is usually released on DVD "uncut", with all scenes intact.
TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime under the UHF. In the United States, cable TV channels such as Cartoon Network, Disney, Syfy, and others dedicate some of their timeslots to anime. Some, such as the Anime Network and the FUNimation Channel, specifically show anime. Sony-based Animax and Disney's Jetix channel broadcast anime within many countries in the world. AnimeCentral solely broadcasts anime in the UK.
Although it violates copyright laws in many countries, some fans add subtitles to anime on their own. These are distributed as fansubs. The ethical implications of producing, distributing, or watching fansubs are topics of much controversy even when fansub groups do not profit from their activities. Once the series has been licensed outside of Japan, fansub groups often cease distribution of their work. In one case, Media Factory Incorporated requested that no fansubs of their material be made, which was respected by the fansub community.[42] In another instance, Bandai specifically thanked fansubbers for their role in helping to make The Melancholy of Haruhi Suzumiya popular in the English speaking world.[43]
The Internet has played a significant role in the exposure of anime beyond Japan. Prior to the 1990s, anime had limited exposure beyond Japan's borders. Coincidentally, as the popularity of the Internet grew, so did interest in anime. Much of the fandom of anime grew through the Internet. The combination of internet communities and increasing amounts of anime material, from video to images, helped spur the growth of fandom.[44] As the Internet gained more widespread use, Internet advertising revenues grew from 1.6 billion yen to over 180 billion yen between 1995 and 2005.[45]
Influence on world culture
Anime has become commercially profitable in western countries, as early commercially successful western adaptations of anime, such as Astro Boy, have revealed.[46] The phenomenal success of Nintendo's multi-billion dollar Pokémon franchise[47] was helped greatly by the spin-off anime series that, first broadcast in the late 1990s, is still running worldwide to this day. In doing so, anime has made significant impacts upon Western culture. Since the 19th century, many Westerners have expressed a particular interest towards Japan. Anime dramatically exposed more Westerners to the culture of Japan. Aside from anime, other facets of Japanese culture increased in popularity.[48] Worldwide, the number of people studying Japanese increased. In 1984, the Japanese Language Proficiency Test was devised to meet increasing demand.[49] Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime.[50] Most of these works are created by studios in the United States, Europe, and non-Japanese Asia; and they generally incorporate stylizations, methods, and gags described in anime physics, as in the case of Avatar: The Last Airbender. Often, production crews either are fans of anime or are required to view anime.[51] Some creators cite anime as a source of inspiration with their own series.[52][53] Furthermore, a French production team for Ōban Star-Racers moved to Tokyo to collaborate with a Japanese production team from Hal Film Maker.[54] Critics and the general anime fanbase do not consider them as anime.[55]
Some American animated television-series have singled out anime styling with satirical intent, for example South Park (with "Chinpokomon" and with "Good Times with Weapons"). South Park has a notable drawing style, itself parodied in "Brittle Bullet", the fifth episode of the anime FLCL, released several months after "Chinpokomon" aired. This intent on satirizing anime is the springboard for the basic premise of Kappa Mikey, a Nicktoons Network original cartoon. Even clichés normally found in anime are parodied in some series, such as Perfect Hair Forever. Anime conventions began to appear in the early 1990s, during the Anime boom, starting with Anime Expo, Animethon, Otakon, and JACON. Currently anime conventions are held annually in various cities across the Americas, Asia, and Europe.[56] Many attendees participate in cosplay, where they dress up as anime characters. Also, guests from Japan ranging from artists, directors, and music groups are invited. In addition to anime conventions, anime clubs have become prevalent in colleges, high schools, and community centers as a way to publicly exhibit anime as well as broadening Japanese cultural understanding.[57]
Anime and American audiences
The Japanese term otaku is used in America as a term for anime fans, more particularly the obsessive ones. The negative connotations associated with the word in Japan have disappeared in its American context, where it instead connotes the pride of the fans. Only in the recent decade or so has there been a more casual viewership outside the devoted otaku fan base, which can be attributed highly to technological advances. Also, shows like Pokémon and Dragon Ball Z provided a pivotal introduction of anime's conventions, animation methods, and Shinto influences to many American children.
Ancient Japanese myths – often deriving from the animistic nature worship of Shinto – have influenced anime greatly, but most American audiences not accustomed to anime know very little of these foreign texts and customs. For example, an average American viewing the live-action TV show Hercules will be no stranger to the Greek myths and legends it is based on, while the same person watching the show Tenchi Muyo! might not understand that the pleated ropes wrapped around the "space trees" are influenced by the ancient legend of Amaterasu and Susano.[58]
Senin, 23 November 2009
The Newest Stars of Japanese Anime, Made in America
WHEN American anime fans caught up with the teenage martial arts series "Tenjho Tenge" on DVD last month, they saw an athletic black teenager break-dance across the titles. With every step, that figure kicked at a cultural barrier that is crumbling as the power of hip-hop converges with an equally powerful global force: Japanese animation.
Over the years, unflattering Japanese depictions of ethnic minorities, from African-Americans and Latinos to Koreans and Ainu, have been the subject of controversy. In 1986, Prime Minister Yasuhiro Nakasone blamed blacks, Puerto Ricans and Mexicans for a decline in "American intelligence levels." Almost two decades later, "Little Black Sambo" still sells well, and dismissive, if not downright ugly, images of dark-skinned people are still routinely found throughout the country's pop culture.
The popularity of hip-hop - a presence since break dancers started performing in Tokyo's Yoyogi Park in late 1983 - did little to change these cultural biases. Lately, though, the music has penetrated the world of anime. And it has been replacing those old stereotypes with a kind of hip ethnic imagery, both of blacks and Japanese wannabes, that seemed unthinkable only a few years ago. Among the newer anime series now reaching the United States, "Infinite Ryvius," a sci-fi adventure set in the 22nd century, features a hip-hop soundtrack. And in the high school sports story "Hoops," a Japanese rapper, Da Pump, performs the closing song in a live action/animation combination.
But the most vivid cultural cross-pollination occurs in "Samurai Champloo" from the director Shinichiro Watanabe ( "Cowboy Bebop") and in "Paranoia Agent," an unsettling contemporary fantasy by Satoshi Kon ("Millennium Actress"), both of which made their debuts on DVD in the United States late last year.
In "Samurai Champloo," Jin, a ronin (or masterless samurai); Mugen, an Okinawan low-life with Attitude; and Fuu, a ditsy waitress, wander through an anachronistic version of 19th-century Japan. Jin is cool to the point of iciness: in a fight, he's a deadly work of art in motion. In place of martial arts moves, Mugen uses break-dance spins and flips, and sports a mop of frizzy hair, earrings and tattooed bands. Replace his getta (platform sandals) with Air Jordans, and he could hang in 21st-century America.
"I've been interested in hip-hop since it first appeared: the fact that it was born not in the music industry but on the street, the idea of using a turntable as an instrument, singing vividly about reality instead of typical love songs, and its links to graffiti and dance," Mr. Watanabe said in an interview by e-mail message. "I believe samurai in the Edo period and modern hip-hop artists have something in common. Rappers open the way to their future with one microphone; samurai decided their fate with one sword."
Champloo, noted Ian Condry, assistant professor of Japanese cultural studies at M.I.T., "is an Okinawan word for a stew, something that mixes ingredients."
"The series also deals with ethnic and racial discrimination in Japan," he said. "In addition to Okinawans and the way they've been persecuted by mainland Japanese, there are episodes about the Ainu, a gay man from the Netherlands, and Christians, who were persecuted during the Tokugawa era."
Li'l Slugger, the focus of Mr. Kon's disquieting "Paranoia Agent," sports baggy cargo shorts, Afro hair style and a baseball cap. But no one knows if L'il Slugger is a real person, the projection of another character's childhood trauma or the product of media hysteria. His uncertain existence mirrors the manufactured fame of what Mr. Condry called, "a media culture that is sort of street culture, which is paradoxical: It's a street culture that can get on TV."
Although manga (Japanese graphic novels) and animation are usually quick to reflect pop culture trends, hip-hop didn't appear in manga until Santa Inoue's "Tokyo Tribes" in 1997 - 14 years after Japanese teenagers took up break dancing. Mr. Inoue's angry, innovative story about Tokyo homies battling over turf, honor and loyalty scored a big hit in the comics world and is being adapted as an animated feature.
"It's a gumbo," he said via e-mail. "My influences include Robert De Niro in 'Goodfellas,' Joe Pesci, Ken Takakura, Yusaku Matsuda in 'Black Rain,' Tupac in 'Juice' and Ice Cube in 'Boyz N the Hood.' There's a character in 'Tokyo Tribes' named Renkon Chief: I modeled him on Wu-Tang Clan's leader, Raekwon."
According to John Russell, a cultural anthropologist at Gifu University in central Japan, anime's fascination with hip-hop still hasn't erased the kind of negative imagery that was long ago banished from Western entertainment.
"Demeaning caricatures of blacks still invade television programs, commercials, manga and gift shops," Mr. Russell said. "For cosplay" - costume play - "participants, there are 'Rasta Man,' 'Soul Man' and 'Afro Man' blackface kits, and Tonga Bijin ('Tonga Beauty') masks, the last little more than a gorilla mask with golden hoop earrings. Only a few months ago, a TV commercial for facial wipes featured a group of Rastafarians and, inexplicably, a chimpanzee, lounging in a dimly lit room."
Currently doing research on images of African-Americans in Japanese popular culture, Mr. Russell also worries that hip-hop may help reinforce outdated imagery: "It certainly has made 'blackness' cool and stylish, but still objectifies and fetishes it, as does much of American hip-hop, readapting and updating century-old stereotypes of blacks for the digital age."
But Mr. Condry, who is writing a book about hip-hop culture in Japan, disagrees. "There are still plenty of insensitive, if not racist, representations of African-Americans, and there's still a lot of prejudice in Japanese society," he said. "But among hip-hop fans, there's a great respect for African-Americans and black culture. The hope is that hip-hop will become a gateway to greater racial understanding and sensitivity, but it will take many years before any of the hip-hop kids have control over the media and more mainstream Japanese attitudes."
Over the years, unflattering Japanese depictions of ethnic minorities, from African-Americans and Latinos to Koreans and Ainu, have been the subject of controversy. In 1986, Prime Minister Yasuhiro Nakasone blamed blacks, Puerto Ricans and Mexicans for a decline in "American intelligence levels." Almost two decades later, "Little Black Sambo" still sells well, and dismissive, if not downright ugly, images of dark-skinned people are still routinely found throughout the country's pop culture.
The popularity of hip-hop - a presence since break dancers started performing in Tokyo's Yoyogi Park in late 1983 - did little to change these cultural biases. Lately, though, the music has penetrated the world of anime. And it has been replacing those old stereotypes with a kind of hip ethnic imagery, both of blacks and Japanese wannabes, that seemed unthinkable only a few years ago. Among the newer anime series now reaching the United States, "Infinite Ryvius," a sci-fi adventure set in the 22nd century, features a hip-hop soundtrack. And in the high school sports story "Hoops," a Japanese rapper, Da Pump, performs the closing song in a live action/animation combination.
But the most vivid cultural cross-pollination occurs in "Samurai Champloo" from the director Shinichiro Watanabe ( "Cowboy Bebop") and in "Paranoia Agent," an unsettling contemporary fantasy by Satoshi Kon ("Millennium Actress"), both of which made their debuts on DVD in the United States late last year.
In "Samurai Champloo," Jin, a ronin (or masterless samurai); Mugen, an Okinawan low-life with Attitude; and Fuu, a ditsy waitress, wander through an anachronistic version of 19th-century Japan. Jin is cool to the point of iciness: in a fight, he's a deadly work of art in motion. In place of martial arts moves, Mugen uses break-dance spins and flips, and sports a mop of frizzy hair, earrings and tattooed bands. Replace his getta (platform sandals) with Air Jordans, and he could hang in 21st-century America.
"I've been interested in hip-hop since it first appeared: the fact that it was born not in the music industry but on the street, the idea of using a turntable as an instrument, singing vividly about reality instead of typical love songs, and its links to graffiti and dance," Mr. Watanabe said in an interview by e-mail message. "I believe samurai in the Edo period and modern hip-hop artists have something in common. Rappers open the way to their future with one microphone; samurai decided their fate with one sword."
Champloo, noted Ian Condry, assistant professor of Japanese cultural studies at M.I.T., "is an Okinawan word for a stew, something that mixes ingredients."
"The series also deals with ethnic and racial discrimination in Japan," he said. "In addition to Okinawans and the way they've been persecuted by mainland Japanese, there are episodes about the Ainu, a gay man from the Netherlands, and Christians, who were persecuted during the Tokugawa era."
Li'l Slugger, the focus of Mr. Kon's disquieting "Paranoia Agent," sports baggy cargo shorts, Afro hair style and a baseball cap. But no one knows if L'il Slugger is a real person, the projection of another character's childhood trauma or the product of media hysteria. His uncertain existence mirrors the manufactured fame of what Mr. Condry called, "a media culture that is sort of street culture, which is paradoxical: It's a street culture that can get on TV."
Although manga (Japanese graphic novels) and animation are usually quick to reflect pop culture trends, hip-hop didn't appear in manga until Santa Inoue's "Tokyo Tribes" in 1997 - 14 years after Japanese teenagers took up break dancing. Mr. Inoue's angry, innovative story about Tokyo homies battling over turf, honor and loyalty scored a big hit in the comics world and is being adapted as an animated feature.
"It's a gumbo," he said via e-mail. "My influences include Robert De Niro in 'Goodfellas,' Joe Pesci, Ken Takakura, Yusaku Matsuda in 'Black Rain,' Tupac in 'Juice' and Ice Cube in 'Boyz N the Hood.' There's a character in 'Tokyo Tribes' named Renkon Chief: I modeled him on Wu-Tang Clan's leader, Raekwon."
According to John Russell, a cultural anthropologist at Gifu University in central Japan, anime's fascination with hip-hop still hasn't erased the kind of negative imagery that was long ago banished from Western entertainment.
"Demeaning caricatures of blacks still invade television programs, commercials, manga and gift shops," Mr. Russell said. "For cosplay" - costume play - "participants, there are 'Rasta Man,' 'Soul Man' and 'Afro Man' blackface kits, and Tonga Bijin ('Tonga Beauty') masks, the last little more than a gorilla mask with golden hoop earrings. Only a few months ago, a TV commercial for facial wipes featured a group of Rastafarians and, inexplicably, a chimpanzee, lounging in a dimly lit room."
Currently doing research on images of African-Americans in Japanese popular culture, Mr. Russell also worries that hip-hop may help reinforce outdated imagery: "It certainly has made 'blackness' cool and stylish, but still objectifies and fetishes it, as does much of American hip-hop, readapting and updating century-old stereotypes of blacks for the digital age."
But Mr. Condry, who is writing a book about hip-hop culture in Japan, disagrees. "There are still plenty of insensitive, if not racist, representations of African-Americans, and there's still a lot of prejudice in Japanese society," he said. "But among hip-hop fans, there's a great respect for African-Americans and black culture. The hope is that hip-hop will become a gateway to greater racial understanding and sensitivity, but it will take many years before any of the hip-hop kids have control over the media and more mainstream Japanese attitudes."
Senin, 16 November 2009
All About An!m3
Animasi adalah film yang berasal dari pengolahan gambar tangan sehingga menjadi gambar yang bergerak. Bentuk animasi tertua diperkirakan wayang kulit. Karena wayang memenuhi semua elemen animasi seperti layar, gambar bergerak, dialog dan ilustrasi musik.
Animasi mulai berkembang sekitar abad ke-18 di Amerika. Pada saat itu teknik stop motion animation banyak disenangi. Teknik ini menggunakan serangkaian gambar diam/frame yang dirangkai menjadi satu dan menimbulkan kesan seolah-olah gambar tersebut bergerak. Teknik ini sangat sulit, membutuhkan waktu, juga biaya yang banyak. Karenauntuk menciptakan animasi selama satu dektik, kita membutuhkan sebanyak 12-24 frame gambar diam. Bayangkan jika film animasi itu berdurasi satu jam bahkan lebih.
J. Stuart Blackton mungkin adalah orang Amerika pertama yang menjadi pionir dalam menggunakan teknik stop motion animation. Beberapa film yang telah diciptakannya dengan menggunakan teknik ini adalah The Enchanted Drawing (1900) dan Humorous Phases of Funny Faces (1906).
Selanjutnya, setelah teknologi komputer berkembang, bermunculan animasi yang dibuat dengan teknologi komputer. Animasi itu macam-macam jenisnya. Ada yang 2 dimensi (2D) dan 3 dimensi (3D). Pada animasi 2D, figur animasi dibuat dan diedit di komputer dengan menggunakan 2D bitmap graphics atau 2D vector graphics. Sedangkan 3D lebih kompleks lagi karena menambahkan berbagai efek di dalamnya seperti efek percahayaan, air dan api, dan sebagainya.
Sebagai sebuah karya seni maupun komoditi komersil animasi dari Jepang telah sangat sukses dalam menancapkan pengaruhnya ke industri hiburan di berbagai belahan dunia. Tidak berlebihan jika dikatakan bahwa animasi Jepang telah menjadi bagian dari popular culture di dalam masyarakat. Namun seiring dengan pengakuan akan kualitasnya, animasi Jepang juga banyak disorot karena isi yang terkandung di dalamnya. Ada stereotip yang menempel pada animasi Jepang bahwa “Japanese animation is all about sex or violence”. Memang animasi di Jepang berkembang dalam arus yang berbeda dengan animasi-animasi seperti dari barat, baik dalam soal gaya, maupun isinya, yang cenderung terbuka.
Kita bisa mengkritisi hal tersebut sebagai hal positif maupun negatif dari dua sudut pandang. Yang pertama, stereotip yang menempel pada animasi Jepang tersebut mematahkan stereotip lainnya yang sangat bertolak belakang, yaitu bahwa animasi itu hanya untuk ditonton oleh anak-anak. Secara positif itu bisa kita pandang sebagai bukti tegas bahwa animasi bisa menjadi media dengan potensi yang lebih luas. Yang kedua masih mengacu pada perluasan makna animasi, namun memandangnya secara negatif; bahwa jika mengacu pada fakta bahwa animasi Jepang banyak mengandung tema-tema yang berat dan dewasa, maka animasi Jepang, betapapun populernya, tidak pantas ditonton oleh anak-anak. Hal inilah, yang menjadi kritik utama dari banyak pihak terhadap penayangan animasi Jepang di televisi [diantaranya, masyarakat Indonesia].
Animasi adalah film yang berasal dari pengolahan gambar tangan sehingga menjadi gambar yang bergerak. Bentuk animasi tertua diperkirakan wayang kulit. Karena wayang memenuhi semua elemen animasi seperti layar, gambar bergerak, dialog dan ilustrasi musik.
Animasi mulai berkembang sekitar abad ke-18 di Amerika. Pada saat itu teknik stop motion animation banyak disenangi. Teknik ini menggunakan serangkaian gambar diam/frame yang dirangkai menjadi satu dan menimbulkan kesan seolah-olah gambar tersebut bergerak. Teknik ini sangat sulit, membutuhkan waktu, juga biaya yang banyak. Karenauntuk menciptakan animasi selama satu dektik, kita membutuhkan sebanyak 12-24 frame gambar diam. Bayangkan jika film animasi itu berdurasi satu jam bahkan lebih.
J. Stuart Blackton mungkin adalah orang Amerika pertama yang menjadi pionir dalam menggunakan teknik stop motion animation. Beberapa film yang telah diciptakannya dengan menggunakan teknik ini adalah The Enchanted Drawing (1900) dan Humorous Phases of Funny Faces (1906).
Selanjutnya, setelah teknologi komputer berkembang, bermunculan animasi yang dibuat dengan teknologi komputer. Animasi itu macam-macam jenisnya. Ada yang 2 dimensi (2D) dan 3 dimensi (3D). Pada animasi 2D, figur animasi dibuat dan diedit di komputer dengan menggunakan 2D bitmap graphics atau 2D vector graphics. Sedangkan 3D lebih kompleks lagi karena menambahkan berbagai efek di dalamnya seperti efek percahayaan, air dan api, dan sebagainya.
Sebagai sebuah karya seni maupun komoditi komersil animasi dari Jepang telah sangat sukses dalam menancapkan pengaruhnya ke industri hiburan di berbagai belahan dunia. Tidak berlebihan jika dikatakan bahwa animasi Jepang telah menjadi bagian dari popular culture di dalam masyarakat. Namun seiring dengan pengakuan akan kualitasnya, animasi Jepang juga banyak disorot karena isi yang terkandung di dalamnya. Ada stereotip yang menempel pada animasi Jepang bahwa “Japanese animation is all about sex or violence”. Memang animasi di Jepang berkembang dalam arus yang berbeda dengan animasi-animasi seperti dari barat, baik dalam soal gaya, maupun isinya, yang cenderung terbuka.
Kita bisa mengkritisi hal tersebut sebagai hal positif maupun negatif dari dua sudut pandang. Yang pertama, stereotip yang menempel pada animasi Jepang tersebut mematahkan stereotip lainnya yang sangat bertolak belakang, yaitu bahwa animasi itu hanya untuk ditonton oleh anak-anak. Secara positif itu bisa kita pandang sebagai bukti tegas bahwa animasi bisa menjadi media dengan potensi yang lebih luas. Yang kedua masih mengacu pada perluasan makna animasi, namun memandangnya secara negatif; bahwa jika mengacu pada fakta bahwa animasi Jepang banyak mengandung tema-tema yang berat dan dewasa, maka animasi Jepang, betapapun populernya, tidak pantas ditonton oleh anak-anak. Hal inilah, yang menjadi kritik utama dari banyak pihak terhadap penayangan animasi Jepang di televisi [diantaranya, masyarakat Indonesia].
Jumat, 13 November 2009
P3rkEmb4ngaN J-Pop
Perkembangan J-Pop tak hanya berada di tanah Jepang. Pengaruh subgenre ini tidak sebatas pada Asia pula.
Tapi Eropa dan Amerika memiliki pasar penikmat J-Pop.
Eksistensinya memang masih lemah bila dibandingkan dengan kehadiran musik pop dari Amerika. Namun musisi-musisi asal Jepang ini bisa meruntuhkan dominasi Amerika.
J-POP adalah tempat yang mewadahi musik-musik yang berkembang dari Jepang. Termasuk di dalamnya rock, blues, jazz maupun genre-genre musik lainnya yang dinikmati oleh penggemar musik.
Perkembangan J-Pop hingga melebar ke luar negeri memiliki keunikan dibandingkan dengan musik lainnya. Seringkali popularitas seorang musisi atau grup diawali dari anime atau game. Para penggila game maupun anime sangat dekat dengan jenis musik yang satu ini.
Ini berawal dari kebiasaan mendengarkan untuk memiliki lagu yang menjadi theme anime atau game-nya. Sebagai contoh saja lagu - - Fourth Avenue Cafe? milik L?Arc-en-Ciel yang menjadi theme dari anime ?Samurai X?, diburu oleh penyuka film anime tersebut.
J-Pop memang tak sekedar menjadi rilis musik saja. Namun juga menjadi bagian dari iklan komersial, film-film, acara radio bahkan untuk toko-toko. Tak hanya itu program-program berita di Jepang juga memutar lagu-lagu J-Pop pada bagian akhir atau credit title.
Khususnya untuk anime atau program drama di televisi, biasanya lagu theme ini bisa berganti sebanyak empat kali dalam setahun. Dalam program-program itu biasanya terdapat opening dan closing yang memiliki lagu yang berbeda-beda.
Tak mengherankan dalam satu musim tayangan sebuah program drama atau anime memajang delapan lagu. Seperti sebuah antrian silih-berganti lagu dan artis masuk dalam sebuah tayangan drama atau anime. Jelas membuat beberapa artis kemudian menikmati popularitasnya selama bertahun-tahun.
Perkembangan J-Pop tak hanya berada di tanah Jepang. Pengaruh subgenre ini tidak sebatas pada Asia pula.
Tapi Eropa dan Amerika memiliki pasar penikmat J-Pop.
Eksistensinya memang masih lemah bila dibandingkan dengan kehadiran musik pop dari Amerika. Namun musisi-musisi asal Jepang ini bisa meruntuhkan dominasi Amerika.
J-POP adalah tempat yang mewadahi musik-musik yang berkembang dari Jepang. Termasuk di dalamnya rock, blues, jazz maupun genre-genre musik lainnya yang dinikmati oleh penggemar musik.
Perkembangan J-Pop hingga melebar ke luar negeri memiliki keunikan dibandingkan dengan musik lainnya. Seringkali popularitas seorang musisi atau grup diawali dari anime atau game. Para penggila game maupun anime sangat dekat dengan jenis musik yang satu ini.
Ini berawal dari kebiasaan mendengarkan untuk memiliki lagu yang menjadi theme anime atau game-nya. Sebagai contoh saja lagu - - Fourth Avenue Cafe? milik L?Arc-en-Ciel yang menjadi theme dari anime ?Samurai X?, diburu oleh penyuka film anime tersebut.
J-Pop memang tak sekedar menjadi rilis musik saja. Namun juga menjadi bagian dari iklan komersial, film-film, acara radio bahkan untuk toko-toko. Tak hanya itu program-program berita di Jepang juga memutar lagu-lagu J-Pop pada bagian akhir atau credit title.
Khususnya untuk anime atau program drama di televisi, biasanya lagu theme ini bisa berganti sebanyak empat kali dalam setahun. Dalam program-program itu biasanya terdapat opening dan closing yang memiliki lagu yang berbeda-beda.
Tak mengherankan dalam satu musim tayangan sebuah program drama atau anime memajang delapan lagu. Seperti sebuah antrian silih-berganti lagu dan artis masuk dalam sebuah tayangan drama atau anime. Jelas membuat beberapa artis kemudian menikmati popularitasnya selama bertahun-tahun.
Minggu, 08 November 2009
AqUA TiM3S BaNd
Aqua Timez adalah grup musik Jepang yang dibentuk tahun 2003. Mereka terdiri dari 4 pria dan seorang wanita. Nama Aqua Timez diambil dari nama majalah ...Timez yang mereka baca. Sementara kata Aqua mereka tambahkan dengan terburu-buru karena grup mereka harus memiliki nama.[1] Aqua Timez berada di bawah label EPIC Records Japan (Sony Music Entertainment).Pada 24 Agustus 2005 mereka merilis mini album Sora Ippai ni Kanaderu Inori dengan label indie. Mini album perdana dengan label mayor, Nana Iro no Rakugaki dirilis 5 April 2006.
Aqua Timez didirikan tahun 2003 oleh vokalis Futoshi dan pemain bass OKP-Star. Mereka dibantu pemain kibor Mayuko dan pemain gitar Daisuke sebagai musisi pendukung. Keduanya kemudian dijadikan anggota tetap. Dalam kontes band Chance! yang diadakan Shinseido, mereka berturut-turut menang sebanyak dua kali, tahun 2003 dan 2004. Mereka merekam sendiri album Kanashimi no Hateni Tomoru Hikari, dan mengadakan pertunjukan di tepi-tepi jalan di Tokyo, seperti di Kichijōji dan Shibuya.
Album Sora Ippai ni Kanaderu Inori dirilis 24 Agustus 2005 dengan label indie Megaforce Corporation. Salah satu lagunya, "Tōshindai no Love Song" masuk ke dalam daftar lagu yang sering ditanyakan oleh pendengar radio kabel USEN.Pada bulan Januari 2006, lagu "Sora Ippai ni Kanaderu Inori" masuk dalam urutan 10 teratas tangga lagu Oricon hingga menempati urutan nomor satu pada 20 Februari 2006.[2] Masih di bulan Juli tahun yang sama, lagu "Ketsui no Asa ni" dijadikan lagu tema film anime Brave Story, dan pemain drum Tasshi diterima sebagai anggota resmi. Pada bulan Agustus, mereka melakukan konser keliling di 7 kota besar Jepang. Singel kedua, "Sen no Yoru o Koete" yang dirilis 22 November 2006 dijadikan lagu tema film Bleach. Mereka mengakhiri tahun 2006 dengan merilis album perdana Kaze o Atsumete (6 Desember 2006). Pada malam pergantian tahun, mereka tampil dalam acara NHK Kōhaku Uta Gassen membawakan lagu "Ketsui no Asa ni".
Singel ke-4, "Alones" yang dirilis 1 Agustus 2007 dijadikan lagu pembuka anime Bleach di TV Tokyo. Setelah itu mulai 4 Agustus 2007, mereka mengadakan konser the "BiG BaNG" tour '07 yang sempat dibatalkan setelah Futoshi mengalami radang pita suara akut.Singel ke-5, "Chiisana Tenohira" dipakai sebagai lagu tema serial drama Joshideka! yang dibintangi Yukie Nakama dan Pinko Izumi di televisi TBS.
Dari 15 Maret hingga 30 Mei, Aqua Timez mengadakan konser keliling "evergreen tour 2008" yang berlangsung sebanyak 17 kali pertunjukan. Singel ke-6 yang dirilis 8 Mei 2008, "Niji" dipakai sebagai lagu serial drama Gokusen. Sementara singel ke-7, "Natsu no Kakera" dipakai sebagai lagu tema film Hurray Hurray Shōjo yang dibintangi Yui Aragaki.
Aqua Timez adalah grup musik Jepang yang dibentuk tahun 2003. Mereka terdiri dari 4 pria dan seorang wanita. Nama Aqua Timez diambil dari nama majalah ...Timez yang mereka baca. Sementara kata Aqua mereka tambahkan dengan terburu-buru karena grup mereka harus memiliki nama.[1] Aqua Timez berada di bawah label EPIC Records Japan (Sony Music Entertainment).Pada 24 Agustus 2005 mereka merilis mini album Sora Ippai ni Kanaderu Inori dengan label indie. Mini album perdana dengan label mayor, Nana Iro no Rakugaki dirilis 5 April 2006.
Aqua Timez didirikan tahun 2003 oleh vokalis Futoshi dan pemain bass OKP-Star. Mereka dibantu pemain kibor Mayuko dan pemain gitar Daisuke sebagai musisi pendukung. Keduanya kemudian dijadikan anggota tetap. Dalam kontes band Chance! yang diadakan Shinseido, mereka berturut-turut menang sebanyak dua kali, tahun 2003 dan 2004. Mereka merekam sendiri album Kanashimi no Hateni Tomoru Hikari, dan mengadakan pertunjukan di tepi-tepi jalan di Tokyo, seperti di Kichijōji dan Shibuya.
Album Sora Ippai ni Kanaderu Inori dirilis 24 Agustus 2005 dengan label indie Megaforce Corporation. Salah satu lagunya, "Tōshindai no Love Song" masuk ke dalam daftar lagu yang sering ditanyakan oleh pendengar radio kabel USEN.Pada bulan Januari 2006, lagu "Sora Ippai ni Kanaderu Inori" masuk dalam urutan 10 teratas tangga lagu Oricon hingga menempati urutan nomor satu pada 20 Februari 2006.[2] Masih di bulan Juli tahun yang sama, lagu "Ketsui no Asa ni" dijadikan lagu tema film anime Brave Story, dan pemain drum Tasshi diterima sebagai anggota resmi. Pada bulan Agustus, mereka melakukan konser keliling di 7 kota besar Jepang. Singel kedua, "Sen no Yoru o Koete" yang dirilis 22 November 2006 dijadikan lagu tema film Bleach. Mereka mengakhiri tahun 2006 dengan merilis album perdana Kaze o Atsumete (6 Desember 2006). Pada malam pergantian tahun, mereka tampil dalam acara NHK Kōhaku Uta Gassen membawakan lagu "Ketsui no Asa ni".
Singel ke-4, "Alones" yang dirilis 1 Agustus 2007 dijadikan lagu pembuka anime Bleach di TV Tokyo. Setelah itu mulai 4 Agustus 2007, mereka mengadakan konser the "BiG BaNG" tour '07 yang sempat dibatalkan setelah Futoshi mengalami radang pita suara akut.Singel ke-5, "Chiisana Tenohira" dipakai sebagai lagu tema serial drama Joshideka! yang dibintangi Yukie Nakama dan Pinko Izumi di televisi TBS.
Dari 15 Maret hingga 30 Mei, Aqua Timez mengadakan konser keliling "evergreen tour 2008" yang berlangsung sebanyak 17 kali pertunjukan. Singel ke-6 yang dirilis 8 Mei 2008, "Niji" dipakai sebagai lagu serial drama Gokusen. Sementara singel ke-7, "Natsu no Kakera" dipakai sebagai lagu tema film Hurray Hurray Shōjo yang dibintangi Yui Aragaki.
Band Penyanyi OSt animasi
Super Junior atau lebih dikenal dengan SJ atau SuJu merupakan sebuah grup musik R&B yang berasal dari Seoul, Korea Selatan. Anggotanya berjumlah 13 orang yaitu Leeteuk, Heechul, Han Geng, Yesung, Kang-In, Shindong, Sungmin, Eunhyuk, Donghae, Siwon, Ryeowook, Kibum, dan Kyuhyun. Album perdananya ialah SuperJunior05 (TWINS), dirilis pada tahun 2005.boyband ini juga penah menyanyikan salah satu OST fim Animasi yang berjudukl Inuyasha dengan judul lagu "Change The World"
Secara keseluruhan, Super Junior telah merilis tiga album studio dan satu tunggal fisik, termasuk kadang-kadang kontribusi ke drama soundtrack. Mereka diakui untuk harmonisasi vokal mereka dan bersama-sama sebagai anggota masing-masing memberikan kontribusi suara yang berbeda kisaran dalam musik mereka.Beberapa anggota yang dikreditkan untuk teknik pukulan sabuk vokal mereka, terutama Yesung.Meskipun vokal kontribusi signifikan oleh setiap anggota , Yesung, Sungmin, Ryeowook, dan Kyuhyun diberi label sebagai vokalis memimpin grup.Shindong, Eunhyuk, dan Kibum adalah grup rapper utama, dengan Donghae Heechul dan mengetuk secara konsisten sebagai pendukung vokal.Eunhyuk juga secara teratur menyumbang menulis grup musik rap.
Super Junior's musik terutama jatuh ke dalam kategori arus utama pop Korea. Lagu-lagu genre ini biasanya dicampur dengan cabang yang berbeda instrumen elektronik, dengan penekanan berat pada perkotaan kontemporer, tari pop, dan rap. Generic pop melodi digunakan lebih dalam SuperJunior05 (TWINS), sementara R & B dan electronica beats sulty digunakan lebih dalam Maaf, Maaf.
Super Junior bekerja sama dengan Jin Young Yoo, yang telah menghasilkan dan mengatur sebagian besar kelompok promosi sejak debut single. Yoo's juga dikenal untuk menciptakan gaya SMP yang terkenal, sebuah genre yang meliputi infus seimbang rock, R & B, dan rap, dengan melengkapi unsur-unsur musik seperti gitar listrik, bass, dan instrumen perkusi yang berbeda.Super Junior telah menonjol digunakan gaya SMP ini Jangan Don.
Super Junior telah meliput beberapa lagu dalam album mereka. Single perdana mereka "TWINS (Knock Out)" adalah penutup Triple Delapan's "Knockout," yang dirilis pada tahun 2003. Sementara gaya musik ini kebanyakan dipertahankan seperti aslinya, "TWINS (Knock Out)" sentuhan lebih dekat dengan rap rock, rap dengan lebih cepat dan lebih menekankan pada instrumen bass. Pada sebagian besar meliputi mereka, judul asli disimpan. Contohnya termasuk Cape's "LOVE" dan Exile's "Percayalah." Namun, sebagian besar sampul buku ini adalah diatur ulang ke berbagai menyertai, seperti HOT's "Full of Happiness".
Super Junior atau lebih dikenal dengan SJ atau SuJu merupakan sebuah grup musik R&B yang berasal dari Seoul, Korea Selatan. Anggotanya berjumlah 13 orang yaitu Leeteuk, Heechul, Han Geng, Yesung, Kang-In, Shindong, Sungmin, Eunhyuk, Donghae, Siwon, Ryeowook, Kibum, dan Kyuhyun. Album perdananya ialah SuperJunior05 (TWINS), dirilis pada tahun 2005.boyband ini juga penah menyanyikan salah satu OST fim Animasi yang berjudukl Inuyasha dengan judul lagu "Change The World"
Secara keseluruhan, Super Junior telah merilis tiga album studio dan satu tunggal fisik, termasuk kadang-kadang kontribusi ke drama soundtrack. Mereka diakui untuk harmonisasi vokal mereka dan bersama-sama sebagai anggota masing-masing memberikan kontribusi suara yang berbeda kisaran dalam musik mereka.Beberapa anggota yang dikreditkan untuk teknik pukulan sabuk vokal mereka, terutama Yesung.Meskipun vokal kontribusi signifikan oleh setiap anggota , Yesung, Sungmin, Ryeowook, dan Kyuhyun diberi label sebagai vokalis memimpin grup.Shindong, Eunhyuk, dan Kibum adalah grup rapper utama, dengan Donghae Heechul dan mengetuk secara konsisten sebagai pendukung vokal.Eunhyuk juga secara teratur menyumbang menulis grup musik rap.
Super Junior's musik terutama jatuh ke dalam kategori arus utama pop Korea. Lagu-lagu genre ini biasanya dicampur dengan cabang yang berbeda instrumen elektronik, dengan penekanan berat pada perkotaan kontemporer, tari pop, dan rap. Generic pop melodi digunakan lebih dalam SuperJunior05 (TWINS), sementara R & B dan electronica beats sulty digunakan lebih dalam Maaf, Maaf.
Super Junior bekerja sama dengan Jin Young Yoo, yang telah menghasilkan dan mengatur sebagian besar kelompok promosi sejak debut single. Yoo's juga dikenal untuk menciptakan gaya SMP yang terkenal, sebuah genre yang meliputi infus seimbang rock, R & B, dan rap, dengan melengkapi unsur-unsur musik seperti gitar listrik, bass, dan instrumen perkusi yang berbeda.Super Junior telah menonjol digunakan gaya SMP ini Jangan Don.
Super Junior telah meliput beberapa lagu dalam album mereka. Single perdana mereka "TWINS (Knock Out)" adalah penutup Triple Delapan's "Knockout," yang dirilis pada tahun 2003. Sementara gaya musik ini kebanyakan dipertahankan seperti aslinya, "TWINS (Knock Out)" sentuhan lebih dekat dengan rap rock, rap dengan lebih cepat dan lebih menekankan pada instrumen bass. Pada sebagian besar meliputi mereka, judul asli disimpan. Contohnya termasuk Cape's "LOVE" dan Exile's "Percayalah." Namun, sebagian besar sampul buku ini adalah diatur ulang ke berbagai menyertai, seperti HOT's "Full of Happiness".
S3j4r4h Mus1k Anim4s1
Sejarah karya animasi di Jepang diawali dengan dilakukannya First Experiments in Animation oleh Shimokawa Bokoten, Koichi Junichi, dan Kitayama Seitaro pada tahun 1913. Kemudian diikuti film pendek (hanya berdurasi sekitar 5 menit) karya Oten Shimokawa yang berjudul Imokawa Mukuzo Genkanban no Maki tahun 1917. Pada saat itu Oten membutuhkan waktu 6 bulan hanya untuk mengerjakan animasi sepanjang 5 menit tersebut dan masih berupa “film bisu”. Karya Oten itu kemudian disusul dengan anime berjudul Saru Kani Kassen dan Momotaro hasil karya Seitaro Kitayama pada tahun 1918, yang dibuat untuk pihak movie company Nihon Katsudo Shashin (Nikatsu). Pada tahun 1918 Seitaro kembali membuat anime dengan judul Taro no Banpei. Tetapi semua catatan tentang anime tersebut dikatakan hilang akibat gempa bumi di Tokyo pada tahun 1923.
Selain Oten dan Seitaro, ada juga beberapa animator lain seperti, Junichi Kouichi (Hanahekonai Meitou no Maki, 1917), Sanae Yamamoto (Obasuteyama, 1924), Noburo Ofuji (Saiyuki, 1926 dan Urashima Taro, 1928), Yasushi Murata (Dobutsu Olympic Taikai, 1928). Pada saat itu, muncul pula anime pertama yang mempunyai sekuel yaitu Sarugashima (1930) dan kelanjutannya yaitu Kaizoku-bune (1931).
Pada tahun 1927, Amerika Serikat telah berhasil membuat animasi dengan menggunakan suara (pada saat itu hanya menggunakan background music). Jepang kemudian mengikuti langkah itu dan anime pertama dengan menggunakan suara musik adalah Kujira (1927) karya Noburo Ofuji. Sedangkan anime pertama yang “berbicara” adalah karya Ofuji yang berjudul Kuro Nyago(1930) dan berdurasi 90 detik. Salah satu anime yang tercatat sebelum meletus Perang Dunia II dan merupakan anime pertama dengan menggunakan optic track (seperti yang digunakan pada masa sekarang) adalah Chikara To Onna No Yononaka (1932) karya Kenzo Masaoka.
Dalam tahun 1943 Masaoka bersama dengan seorang muridnya, Senoo Kosei, mereka membuat kurang lebih lima episode anime berjudul Momotaro no Umiwashi (Momotaro, the Sea Eagle). Anime yang ditayangkan ini merupakan anime Jepang pertama dengan durasi lebih dari 30 menit (short animated feature film). Mendekati akhir dari Perang Pasifik, yaitu pada bulan April 1945, Senoo telah membuat dan menampilkan kurang lebih sembilan episode anime yang merupakan karya besarnya, Momotaro: Umi no Shinpei (Momotaro: Devine Soldier of the Sea).
Anime ini merupakan anime Jepang pertama yang berdurasi panjang, yaitu sekitar 72 menit (animated feature film). Keduanya adalah anime propaganda yang mengadaptasi dari cerita legenda terkenal Jepang, Momotaro, dan merupakan salah satu dari anime terpopuler pada masa tersebut.
Sejarah karya animasi di Jepang diawali dengan dilakukannya First Experiments in Animation oleh Shimokawa Bokoten, Koichi Junichi, dan Kitayama Seitaro pada tahun 1913. Kemudian diikuti film pendek (hanya berdurasi sekitar 5 menit) karya Oten Shimokawa yang berjudul Imokawa Mukuzo Genkanban no Maki tahun 1917. Pada saat itu Oten membutuhkan waktu 6 bulan hanya untuk mengerjakan animasi sepanjang 5 menit tersebut dan masih berupa “film bisu”. Karya Oten itu kemudian disusul dengan anime berjudul Saru Kani Kassen dan Momotaro hasil karya Seitaro Kitayama pada tahun 1918, yang dibuat untuk pihak movie company Nihon Katsudo Shashin (Nikatsu). Pada tahun 1918 Seitaro kembali membuat anime dengan judul Taro no Banpei. Tetapi semua catatan tentang anime tersebut dikatakan hilang akibat gempa bumi di Tokyo pada tahun 1923.
Selain Oten dan Seitaro, ada juga beberapa animator lain seperti, Junichi Kouichi (Hanahekonai Meitou no Maki, 1917), Sanae Yamamoto (Obasuteyama, 1924), Noburo Ofuji (Saiyuki, 1926 dan Urashima Taro, 1928), Yasushi Murata (Dobutsu Olympic Taikai, 1928). Pada saat itu, muncul pula anime pertama yang mempunyai sekuel yaitu Sarugashima (1930) dan kelanjutannya yaitu Kaizoku-bune (1931).
Pada tahun 1927, Amerika Serikat telah berhasil membuat animasi dengan menggunakan suara (pada saat itu hanya menggunakan background music). Jepang kemudian mengikuti langkah itu dan anime pertama dengan menggunakan suara musik adalah Kujira (1927) karya Noburo Ofuji. Sedangkan anime pertama yang “berbicara” adalah karya Ofuji yang berjudul Kuro Nyago(1930) dan berdurasi 90 detik. Salah satu anime yang tercatat sebelum meletus Perang Dunia II dan merupakan anime pertama dengan menggunakan optic track (seperti yang digunakan pada masa sekarang) adalah Chikara To Onna No Yononaka (1932) karya Kenzo Masaoka.
Dalam tahun 1943 Masaoka bersama dengan seorang muridnya, Senoo Kosei, mereka membuat kurang lebih lima episode anime berjudul Momotaro no Umiwashi (Momotaro, the Sea Eagle). Anime yang ditayangkan ini merupakan anime Jepang pertama dengan durasi lebih dari 30 menit (short animated feature film). Mendekati akhir dari Perang Pasifik, yaitu pada bulan April 1945, Senoo telah membuat dan menampilkan kurang lebih sembilan episode anime yang merupakan karya besarnya, Momotaro: Umi no Shinpei (Momotaro: Devine Soldier of the Sea).
Anime ini merupakan anime Jepang pertama yang berdurasi panjang, yaitu sekitar 72 menit (animated feature film). Keduanya adalah anime propaganda yang mengadaptasi dari cerita legenda terkenal Jepang, Momotaro, dan merupakan salah satu dari anime terpopuler pada masa tersebut.
Sabtu, 07 November 2009
S3jar4h Animetal band
Animetal (アニメタル, Animetaru) adalah band asal Jepang beraliran Heavy Metal yang berkonsentrasi pada covering lagu lagu tema (Original SoundTracks) film serial televisi (Anime dan Tokusatsu) klasik maupun modern.
Vokalisnya bernama Eizo Sakamoto, yang tumbuh berkembang bersama sebuah band bernama Anthem (salah satu band Heavy Metal Jepang yang memiliki nama besar hingga keluar Jepang pada tahun 1980an bersama band Loudness) dan juga terlibat dalam proyek musik group Nerima, the JAM Project, dan sukses dalam Solo Karir dimana dia bermain sebagai Lead Guitar sekaligus Vokal.
Musik mereka juga dapat diklasifikasikan sebagai “high-energy melodic thrash metal“, “power and speed metal” dengan atribut dan skill sound musikal level atas, khususnya pada posisi gitar (oleh Shi-Ja pada empat album pertama, kemudian Syu dalam album Animetal Marathon V, hingga saat ini) dan bassist (oleh Masaki). Masaki, dalam Animetal Marathon IV, menunjukkan intensitas keaktifan dan ke-agresifan permainan pada alat musiknya (Bass) dengan teknik fluid soloing, manic slapping dan popping, energetic fills, dan crashing chords. Album mereka tersusun atas track-track Anime dan Tokusatsu yg di aransemen ulang sesuai warna musik rock/metal mereka sendiri, dipersingkat durasinya, dan teraransemen secara spontan dalam satu kali jalan di dalam studio.
Beberapa bagian dari track yg mereka kerjakan, biasanya disisipkan sebagian chord lagu terkenal dari band rock legendaris dunia. Contohnya, dalam “Choujuu Sentai Liveman” versi Animetal, mereka juga memainkan sebagian Chord dari lagu karya Judas Priest’s, yaitu “Breaking the Law.Lirik yg dibawakan Animetal sedikit banyak tidak mengalami perubahan dari versi OST Anime/Tokusatsu aslinya, mengandung sebagian besar bahasa Jepang dan sebagian kecil bahasa inggris. Dalam waktu yg tidak lama, mereka bekerjasama dg Pink Lady menggunakan vocalistnya, Mie bergabung dalam “Animetal Lady”, dan berhasil membuat rekaman dua album dengan kemampuan memukau ditambah vokalis yg lebih melodis, perubahan mereka lebih mudah diterima (beberapa pihak jadi sering menyebut mereka pop-metal) dibandingkan discography Animetal sebelumnya.
Sementara mereka membangun banyak proyek OST Covering, mereka juga memiliki OST asli karya mereka sendiri, diantaranya adalah Towa no Mirai dari OST Rurouni Kenshin.
Animetal tenggelam dan tidak ada kabar lagi
Eizo Sakamoto dalam sebuah interview menyatakan Animetal masih hidup, dan dalam proses pembangunan album baru yg akan di rilis pada tahun 2009.
Animetal (アニメタル, Animetaru) adalah band asal Jepang beraliran Heavy Metal yang berkonsentrasi pada covering lagu lagu tema (Original SoundTracks) film serial televisi (Anime dan Tokusatsu) klasik maupun modern.
Vokalisnya bernama Eizo Sakamoto, yang tumbuh berkembang bersama sebuah band bernama Anthem (salah satu band Heavy Metal Jepang yang memiliki nama besar hingga keluar Jepang pada tahun 1980an bersama band Loudness) dan juga terlibat dalam proyek musik group Nerima, the JAM Project, dan sukses dalam Solo Karir dimana dia bermain sebagai Lead Guitar sekaligus Vokal.
Musik mereka juga dapat diklasifikasikan sebagai “high-energy melodic thrash metal“, “power and speed metal” dengan atribut dan skill sound musikal level atas, khususnya pada posisi gitar (oleh Shi-Ja pada empat album pertama, kemudian Syu dalam album Animetal Marathon V, hingga saat ini) dan bassist (oleh Masaki). Masaki, dalam Animetal Marathon IV, menunjukkan intensitas keaktifan dan ke-agresifan permainan pada alat musiknya (Bass) dengan teknik fluid soloing, manic slapping dan popping, energetic fills, dan crashing chords. Album mereka tersusun atas track-track Anime dan Tokusatsu yg di aransemen ulang sesuai warna musik rock/metal mereka sendiri, dipersingkat durasinya, dan teraransemen secara spontan dalam satu kali jalan di dalam studio.
Beberapa bagian dari track yg mereka kerjakan, biasanya disisipkan sebagian chord lagu terkenal dari band rock legendaris dunia. Contohnya, dalam “Choujuu Sentai Liveman” versi Animetal, mereka juga memainkan sebagian Chord dari lagu karya Judas Priest’s, yaitu “Breaking the Law.Lirik yg dibawakan Animetal sedikit banyak tidak mengalami perubahan dari versi OST Anime/Tokusatsu aslinya, mengandung sebagian besar bahasa Jepang dan sebagian kecil bahasa inggris. Dalam waktu yg tidak lama, mereka bekerjasama dg Pink Lady menggunakan vocalistnya, Mie bergabung dalam “Animetal Lady”, dan berhasil membuat rekaman dua album dengan kemampuan memukau ditambah vokalis yg lebih melodis, perubahan mereka lebih mudah diterima (beberapa pihak jadi sering menyebut mereka pop-metal) dibandingkan discography Animetal sebelumnya.
Sementara mereka membangun banyak proyek OST Covering, mereka juga memiliki OST asli karya mereka sendiri, diantaranya adalah Towa no Mirai dari OST Rurouni Kenshin.
Animetal tenggelam dan tidak ada kabar lagi
Eizo Sakamoto dalam sebuah interview menyatakan Animetal masih hidup, dan dalam proses pembangunan album baru yg akan di rilis pada tahun 2009.
Senin, 02 November 2009
Pengertian Anime Music
Lagu anime atau populer sebagai anison(singkatan dari anime song) adalah lagu pop Jepang yang dipakai sebagai lagu tema, lagu pengiring (soundtrack), dan image song untuk anime. Dalam istilah anime, image song (lagu konsep) atau character song adalah lagu orisinal yang sengaja diciptakan untuk mengekspresikan konsep atau karakter dari tokoh-tokoh yang dimunculkan dalam anime, termasuk juga di antaranya image song yang tidak disertakan ke dalam anime tersebut.
Lagu tema yang dimainkan di awal anime disebut lagu pembuka (opening song, disingkat "OP"), sedangkan lagu tema di akhir film disebut lagu penutup (closing song, disingkat "ED"). Lagu pembuka dan lagu penutup sering tidak menggunakan lagu yang sama, hal yang serupa juga terjadi pada beberapa kartun barat.
Dalam pengertian luas, lagu anime juga mencakup lagu tema untuk film tokusatsu (penggemar menyebutnya sebagai lagu anime/tokusatsu), permainan video, dan lagu-lagu yang dinyanyikan pengisi suara (seiyū). Di Jepang, pengisi suara banyak yang berprofesi sebagai penyanyi lagu anime, seperti Megumi Hayashibara, Rie Tanaka, dan Mariko Kōda. Selain itu, grup musik atau penyanyi Jepang sering merilis singel untuk dijadikan lagu anime dengan harapan lagu tersebut menjadi populer, walaupun tema lagu sering tidak berkaitan dengan anime tersebut.
walaupun tema lagu sering tidak berkaitan dengan anime nya tetapi masyarakat jepang begitu menyukai music of anime.bahkan mereka sampai m,enganggap bahwa music of anime adalah hidup mereka karena mereka tidak dapat melepaskan hidup atau lebih tergantung pada music of anime karena di setiap jalanan di jepang saat ini akan selalu terdengar lagu soundtrack anime.
Anime pertama yang mencapai kepopuleran yang luas adalah Astro Boy karya Ozamu Tezuka pada tahun 1963 karena dalam anime pertama inilah yang menggunakan musik sebagai pelengkapnya.Sekarang anime sudah sangat berkembang jika dibandingkan dengan anime jaman dulu. Dengan grafik yang sudah berkembang sampai alur cerita yang lebih menarik dan seru. Masyarakat Jepang sangat antusias menonton anime.
Lagu anime atau populer sebagai anison(singkatan dari anime song) adalah lagu pop Jepang yang dipakai sebagai lagu tema, lagu pengiring (soundtrack), dan image song untuk anime. Dalam istilah anime, image song (lagu konsep) atau character song adalah lagu orisinal yang sengaja diciptakan untuk mengekspresikan konsep atau karakter dari tokoh-tokoh yang dimunculkan dalam anime, termasuk juga di antaranya image song yang tidak disertakan ke dalam anime tersebut.
Lagu tema yang dimainkan di awal anime disebut lagu pembuka (opening song, disingkat "OP"), sedangkan lagu tema di akhir film disebut lagu penutup (closing song, disingkat "ED"). Lagu pembuka dan lagu penutup sering tidak menggunakan lagu yang sama, hal yang serupa juga terjadi pada beberapa kartun barat.
Dalam pengertian luas, lagu anime juga mencakup lagu tema untuk film tokusatsu (penggemar menyebutnya sebagai lagu anime/tokusatsu), permainan video, dan lagu-lagu yang dinyanyikan pengisi suara (seiyū). Di Jepang, pengisi suara banyak yang berprofesi sebagai penyanyi lagu anime, seperti Megumi Hayashibara, Rie Tanaka, dan Mariko Kōda. Selain itu, grup musik atau penyanyi Jepang sering merilis singel untuk dijadikan lagu anime dengan harapan lagu tersebut menjadi populer, walaupun tema lagu sering tidak berkaitan dengan anime tersebut.
walaupun tema lagu sering tidak berkaitan dengan anime nya tetapi masyarakat jepang begitu menyukai music of anime.bahkan mereka sampai m,enganggap bahwa music of anime adalah hidup mereka karena mereka tidak dapat melepaskan hidup atau lebih tergantung pada music of anime karena di setiap jalanan di jepang saat ini akan selalu terdengar lagu soundtrack anime.
Anime pertama yang mencapai kepopuleran yang luas adalah Astro Boy karya Ozamu Tezuka pada tahun 1963 karena dalam anime pertama inilah yang menggunakan musik sebagai pelengkapnya.Sekarang anime sudah sangat berkembang jika dibandingkan dengan anime jaman dulu. Dengan grafik yang sudah berkembang sampai alur cerita yang lebih menarik dan seru. Masyarakat Jepang sangat antusias menonton anime.
Jenis musik yang diadopsi oleh Anime Music
DI pengujung ’80-an, negara ini dilanda demam manga (komik Jepang) dan anime (film animasi Jepang). Saat itu (bahkan sampai kini) banyak manga dan anime yang beredar dan ditayangkan televisi lokal. AdaSamurai-X, Saint Seiya, Doraemon, City Hunter, sampai Detective Conan. Semuanya menawarkan cerita yang seru disimak. Wajar kalau kemudian anime dan manga begitu digilai. Khusus anime, tak hanya ceritanya yang digemari, tapi juga soundtrack-nya.
Soundtrack anime banyak dinyanyikan musisi papan atas Jepang. Sebut saja, L’ arc~en~ ciel (dikenal juga sebagai Laruku), yang menyanyikan soundtrack serial Samurai X. Ada T.M. Network yang mengisi soundtrack-nya City Hunter dan Gundam. Selain itu, ada juga Mitsuko Horie, penyanyi solo yang menunjukkan kemampuan vokalnya lewatsoundtrack serial Saint Seiya dan Candy-Candy. Musik inilah yang kemudian disebut sebagai Japanese Rock (J-Rock). Tapi jangan salah, musik J-Rock tak hanya sebatas soundtrack anime saja. Semua musik bergenre rock yang dimainkan band atau penyanyi asal Jepang yang bisa dikategorikan J-Rock.
J-Rock punya ciri unik. Notasi lagunya sangat unik. Sound-nya terdengar cempreng. Di luar musik, band pengusung J-Rock punya daya tarik lain. Band-band ini punya keunikan saat tampil di atas panggung. Laruku, misalnya, tampil dengan gaya khas bangsawan abad pertengahan. Lantas ada Malice Maizer yang muncul dengan gaya baroque, Asian Kung Fu Generation dengan gaya punk, dan masih banyak lagi.
sedangkan the Gazzete lebih mengutamakan dalam permainan bass Reita. the GazettE menyajikan berbagai macam genre musik dalam tiap albumnya,seperti pada album Stacked Rubbish tengoklah pada lagu Chizuru yang bernuansa slow, Agony yang bernuansa rapp, Filth in Beauty yang bernuansa rock dan Hyena penuh dengan screaming khas Ruki pada lagu ini. Dalam tiap albumya, the GazettE selalu saja memberikan terobosan baru dalam musiknya jadi tiap kali mereka mengeluarkan album, pasti banyak sekali perbedaan yang terasa antara album satu dengan yang lain.
Dan band Visual Kei tidak memiliki acuan pada jenis musik, tetapi sebagian besar dari band visual kei ini memainkan musik-musik berjenis Rock, Hard Rock, Gothic, Neoclassis, dan pop. Kadang-kadang mereka memasukkan unsur rap, murmured, growling, techno dan juga unsur digital dalam musiknya sehingga dalam band visual kei sendairi memiliki berbagai macam jenis musik sehingga jika kita mendengarkan musiknya tidak terkesan monoton.
DI pengujung ’80-an, negara ini dilanda demam manga (komik Jepang) dan anime (film animasi Jepang). Saat itu (bahkan sampai kini) banyak manga dan anime yang beredar dan ditayangkan televisi lokal. AdaSamurai-X, Saint Seiya, Doraemon, City Hunter, sampai Detective Conan. Semuanya menawarkan cerita yang seru disimak. Wajar kalau kemudian anime dan manga begitu digilai. Khusus anime, tak hanya ceritanya yang digemari, tapi juga soundtrack-nya.
Soundtrack anime banyak dinyanyikan musisi papan atas Jepang. Sebut saja, L’ arc~en~ ciel (dikenal juga sebagai Laruku), yang menyanyikan soundtrack serial Samurai X. Ada T.M. Network yang mengisi soundtrack-nya City Hunter dan Gundam. Selain itu, ada juga Mitsuko Horie, penyanyi solo yang menunjukkan kemampuan vokalnya lewatsoundtrack serial Saint Seiya dan Candy-Candy. Musik inilah yang kemudian disebut sebagai Japanese Rock (J-Rock). Tapi jangan salah, musik J-Rock tak hanya sebatas soundtrack anime saja. Semua musik bergenre rock yang dimainkan band atau penyanyi asal Jepang yang bisa dikategorikan J-Rock.
J-Rock punya ciri unik. Notasi lagunya sangat unik. Sound-nya terdengar cempreng. Di luar musik, band pengusung J-Rock punya daya tarik lain. Band-band ini punya keunikan saat tampil di atas panggung. Laruku, misalnya, tampil dengan gaya khas bangsawan abad pertengahan. Lantas ada Malice Maizer yang muncul dengan gaya baroque, Asian Kung Fu Generation dengan gaya punk, dan masih banyak lagi.
sedangkan the Gazzete lebih mengutamakan dalam permainan bass Reita. the GazettE menyajikan berbagai macam genre musik dalam tiap albumnya,seperti pada album Stacked Rubbish tengoklah pada lagu Chizuru yang bernuansa slow, Agony yang bernuansa rapp, Filth in Beauty yang bernuansa rock dan Hyena penuh dengan screaming khas Ruki pada lagu ini. Dalam tiap albumya, the GazettE selalu saja memberikan terobosan baru dalam musiknya jadi tiap kali mereka mengeluarkan album, pasti banyak sekali perbedaan yang terasa antara album satu dengan yang lain.
Dan band Visual Kei tidak memiliki acuan pada jenis musik, tetapi sebagian besar dari band visual kei ini memainkan musik-musik berjenis Rock, Hard Rock, Gothic, Neoclassis, dan pop. Kadang-kadang mereka memasukkan unsur rap, murmured, growling, techno dan juga unsur digital dalam musiknya sehingga dalam band visual kei sendairi memiliki berbagai macam jenis musik sehingga jika kita mendengarkan musiknya tidak terkesan monoton.
Boyband Anime Music
Asian Kung-Fu Generation adalah grup musik rock asal Jepang yang terdiri dari 4 orang anggota. Penggemar menyingkat nama grup ini sebagai Ajikan. Mereka berada di bawah perusahaan rekaman Ki/oon Records. Musik yang dimainkan mereka disebut rock genre Shimokita Kei yang berawal dari rumah pertunjukan di kawasan Shimokitazawa, Tokyo. Grup ini populer di luar Jepang berkat sejumlah lagunya dijadikan lagu anime Naruto dan Bleach. Album mereka juga dirilis di Taiwan dan Amerika Serikat.
Grup musik ini dibentuk tahun 1996[2] sewaktu anggotanya masih bergabung dengan klub musik di kampus Universitas Kanto Gakuin, Yokohama. Sebagai Asian Kung-Fu Generation, mereka sering pentas di rumah pertunjukan di Yokohama.
Nama Asian Kung-Fu Generation adalah hasil buah pemikiran Masafumi Gotō. Ketika sedang menganggur karena tidak diterima ujian masuk universitas, Gotō berniat mendirikan band. Ketika melihat film Bruce Lee, ia mendapat ide untuk memasukkan kata "Kungfu" ke dalam nama grup musik yang akan dibentuknya. Ia juga ingin nama bandnya terdiri dari 3 kata dari bahasa Inggris seperti halnya nama grup thee michelle gun elephant yang dianggapnya bagus.[3]
Setelah lulus kuliah, mereka meneruskan karier bermusik sambil semua anggotanya bekerja sebagai pegawai. Dengan uang sendiri, mereka merekam album The Time Past and I Couldn't See You Again pada tahun 2000. Lirik dari keenam lagu yang ada di dalamnya semua dalam bahasa Inggris. Album tersebut mereka jual sambil berpentas di rumah pertunjukan, dan lewat situs web.
Pada musim panas 2005, mereka tampil kembali dalam konser Summer Sonic '05 (Tokyo & Osaka), Rock in Japan Fes. 05, dan Rising Sun Rock Fes. 2005. Singel ke-8, "World Apart" yang dirilis 15 Februari 2006 menjadi singel pertama mereka di urutan nomor satu tangga singel Oricon. Bulan berikutnya, mereka merilis album ke-3, Fanclub pada 15 Maret 2006. Dalam Fuji Rock Festival musim panas 2006, mereka untuk pertama kalinya tampil di atas Green Stage, panggung utama yang dikhususkan bagi grup musik ternama. Singel ke-9, ""Aru Machi no Gunjō"" (29 November 2006) dijadikan lagu tema untuk film anime layar lebar Tekkon Kinkreet, sekaligus lagu pertama mereka yang dijadikan lagu tema film.
Asian Kung-Fu Generation adalah grup musik rock asal Jepang yang terdiri dari 4 orang anggota. Penggemar menyingkat nama grup ini sebagai Ajikan. Mereka berada di bawah perusahaan rekaman Ki/oon Records. Musik yang dimainkan mereka disebut rock genre Shimokita Kei yang berawal dari rumah pertunjukan di kawasan Shimokitazawa, Tokyo. Grup ini populer di luar Jepang berkat sejumlah lagunya dijadikan lagu anime Naruto dan Bleach. Album mereka juga dirilis di Taiwan dan Amerika Serikat.
Grup musik ini dibentuk tahun 1996[2] sewaktu anggotanya masih bergabung dengan klub musik di kampus Universitas Kanto Gakuin, Yokohama. Sebagai Asian Kung-Fu Generation, mereka sering pentas di rumah pertunjukan di Yokohama.
Nama Asian Kung-Fu Generation adalah hasil buah pemikiran Masafumi Gotō. Ketika sedang menganggur karena tidak diterima ujian masuk universitas, Gotō berniat mendirikan band. Ketika melihat film Bruce Lee, ia mendapat ide untuk memasukkan kata "Kungfu" ke dalam nama grup musik yang akan dibentuknya. Ia juga ingin nama bandnya terdiri dari 3 kata dari bahasa Inggris seperti halnya nama grup thee michelle gun elephant yang dianggapnya bagus.[3]
Setelah lulus kuliah, mereka meneruskan karier bermusik sambil semua anggotanya bekerja sebagai pegawai. Dengan uang sendiri, mereka merekam album The Time Past and I Couldn't See You Again pada tahun 2000. Lirik dari keenam lagu yang ada di dalamnya semua dalam bahasa Inggris. Album tersebut mereka jual sambil berpentas di rumah pertunjukan, dan lewat situs web.
Pada musim panas 2005, mereka tampil kembali dalam konser Summer Sonic '05 (Tokyo & Osaka), Rock in Japan Fes. 05, dan Rising Sun Rock Fes. 2005. Singel ke-8, "World Apart" yang dirilis 15 Februari 2006 menjadi singel pertama mereka di urutan nomor satu tangga singel Oricon. Bulan berikutnya, mereka merilis album ke-3, Fanclub pada 15 Maret 2006. Dalam Fuji Rock Festival musim panas 2006, mereka untuk pertama kalinya tampil di atas Green Stage, panggung utama yang dikhususkan bagi grup musik ternama. Singel ke-9, ""Aru Machi no Gunjō"" (29 November 2006) dijadikan lagu tema untuk film anime layar lebar Tekkon Kinkreet, sekaligus lagu pertama mereka yang dijadikan lagu tema film.
Japanese Rock
J-Rock atau Japanese rock (日本のロック, nihon no rokku?, rock Jepang) digunakan untuk menyebut genre musik rock ‘n’ roll yang ada di Jepang.J-Rock menjadi populer di Indonesia berkat kepopuleran penayangan anime di televisi dengan lagu tema (soundtrack) yang dibawakan penyanyi dan kelompok musik Jepang.
Salah satu band j-Rock yaitu Visual Kei.Lagu-lagu dari band Visual Kei banyak dipakai sebagai lagu tema anime dan permainan video, sehingga keberhasilan anime dan permainan video di luar Jepang turut menyeret kepopuleran band Visual Kei di luar Jepang. Sementara itu, penyanyi rock wanita seperti Maki Oguro, Nanase Aikawa, dan Ringo Shiina sedang berada di puncak ketenaran.
Di saat yang bersamaan muncul tren mendirikan grup musik campuran dengan vokalis wanita, seperti Judy and Mary dan Hysteric Blue. Pada waktu itu juga populer grup The High-Lows yang didirikan Hiroto Kōmoto dan Masatoshi Mashima yang keduanya mantan The Blue Hearts. Aliran baru yang disebut Melodic Hardcore diciptakan oleh Hi-Standard, Nicotine, Snail Ramp, dan Kemuri. Lirik lagu berbahasa Inggris yang sekarang sudah menjadi barang lumrah justru dimulai oleh Hi-Standard. Pada saat yang sama, band wanita Shonen Knife menjadi populer di luar Jepang.
Mitos “sukses di luar negeri harus pandai betul memainkan instrumen” luntur dengan keberhasilan Shonen Knife menjadi band pembuka konser Nirvana pada tahun 1993. Beberapa band lain asal Jepang yang populer di luar negeri, misalnya Guitar Wolf, Boredoms, dan The 5.6.7.8’s.
Lagu-lagu visual kei banyak laku terjual setelah adanya penayangan perdana film anime yang berjudul "Gundam Seed".sampai saat ini banyak grrup band J-rock yang lagunya banyak di gunakan untuk soundtrack film-film anime.Animo masyarakat untuk band ini cukup tinggi karena mereka banyak mentukao lagu0lagu dari band J-rock ini selain itu band J-rock biasanya tidak terlalu banyak dikenal akan tetapi jika lagu salah satu band J-Rock itu di pake soundtrack film tidak perlu diragukan lagi berapa keuntungan yang di dapat dari band itu.
J-Rock atau Japanese rock (日本のロック, nihon no rokku?, rock Jepang) digunakan untuk menyebut genre musik rock ‘n’ roll yang ada di Jepang.J-Rock menjadi populer di Indonesia berkat kepopuleran penayangan anime di televisi dengan lagu tema (soundtrack) yang dibawakan penyanyi dan kelompok musik Jepang.
Salah satu band j-Rock yaitu Visual Kei.Lagu-lagu dari band Visual Kei banyak dipakai sebagai lagu tema anime dan permainan video, sehingga keberhasilan anime dan permainan video di luar Jepang turut menyeret kepopuleran band Visual Kei di luar Jepang. Sementara itu, penyanyi rock wanita seperti Maki Oguro, Nanase Aikawa, dan Ringo Shiina sedang berada di puncak ketenaran.
Di saat yang bersamaan muncul tren mendirikan grup musik campuran dengan vokalis wanita, seperti Judy and Mary dan Hysteric Blue. Pada waktu itu juga populer grup The High-Lows yang didirikan Hiroto Kōmoto dan Masatoshi Mashima yang keduanya mantan The Blue Hearts. Aliran baru yang disebut Melodic Hardcore diciptakan oleh Hi-Standard, Nicotine, Snail Ramp, dan Kemuri. Lirik lagu berbahasa Inggris yang sekarang sudah menjadi barang lumrah justru dimulai oleh Hi-Standard. Pada saat yang sama, band wanita Shonen Knife menjadi populer di luar Jepang.
Mitos “sukses di luar negeri harus pandai betul memainkan instrumen” luntur dengan keberhasilan Shonen Knife menjadi band pembuka konser Nirvana pada tahun 1993. Beberapa band lain asal Jepang yang populer di luar negeri, misalnya Guitar Wolf, Boredoms, dan The 5.6.7.8’s.
Lagu-lagu visual kei banyak laku terjual setelah adanya penayangan perdana film anime yang berjudul "Gundam Seed".sampai saat ini banyak grrup band J-rock yang lagunya banyak di gunakan untuk soundtrack film-film anime.Animo masyarakat untuk band ini cukup tinggi karena mereka banyak mentukao lagu0lagu dari band J-rock ini selain itu band J-rock biasanya tidak terlalu banyak dikenal akan tetapi jika lagu salah satu band J-Rock itu di pake soundtrack film tidak perlu diragukan lagi berapa keuntungan yang di dapat dari band itu.
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