Forum - View topicA Look at TIFFCOM and Tokyo International Anime Festival 2011
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tuxedocat
 Posts: 2183 |
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This article was very interesting. Especially reading little tidbits like this:
I would like to know more about these quotas, and if they are what is effecting streaming rights in European countries. Another thing I found interesting was the viewpoint on the export market here in the US.
I wondered what anime he was thinking about when he said that. In my experience it has been difficult to nurture a new fan, especially if that new fan has only experienced a Ghibli film. Most of the time, they will try to explore anime on their own and end up finding either hentai or ecchi and then completely dismiss anime altogether. It can be difficult to get them to try anything else after that, no matter how much you try to explain that it is not all like that. The perception is tarnished, in their minds, to the point that they completely dismiss anime completely. 
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configspace
Posts: 3717 |
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.. or maybe not. Maybe that's what they find interesting, Even if they are looking for something else, how can you say that they'll dismiss anime altogether based on such prejudiced views when you just acknowledged that these same people are also aware of Ghibli films? There's more than enough variety, way more than some even want to acknowledge, so that it'll be very obvious to everyone looking for anime on their own that anime is in no way limited to whatever some find offensive. I certainly would not want to project a filtered image of what "anime" is about just to pander to a very narrow middle-of-the-road mainstream since it sets up false expectations. |
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tuxedocat
Posts: 2183 |
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because they tell me so. And yes, I try to convince them anyway. |
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Shiroi Hane
Encyclopedia Editor
 Posts: 7584 Location: Wales |
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I've not seen A Letter to Momo or even seen pictures of it before and that one there immediately made me think of Dennou Coil. The Animation Director (presumably also the character designer since we don't have one listed) did work on it so there may be something in that.
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HeeroTX
Posts: 2046 Location: Austin, TX |
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(For Americans, I think these are two of the most noteworthy comments)
This is not new by any means, but has long been a source of consternation for US fans. It's interesting to see a CN exec, even a FORMER one make note of that issue.
This is probably the most damning and disappointing bit because it implies that most inroads that anime made for wider acceptance may be wiped out from a combination of "animation" channels rebranding to "tween" networks and the only remaining markets for broadcast of materials being pre-teen targets. (seriously tho, I know MTV paved that ground LONG ago, but what's with all the live-action content on "Cartoon Network", not even just griping about anime here because they've actually still got a decent block Saturday nights, just speaking in general) |
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enurtsol
 Posts: 14889 |
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Ha, I remember her.
Unfortunately, not something anime "specializes" in.
They just simply garner more ratings while being cheaper to shoot. 
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reanimator
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No...Granted that majority of Anime titles produced are for pre-teens and up, however there are some pre-school anime titles out there. They're neither hyped nor fans are crazy about it. |
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enurtsol
Posts: 14889 |
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Yep, usually nothing "special" that domestic networks would favor importing over local fare. |
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Cadmium
Posts: 10 Location: The Netherlands |
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I think the comment about quotas should be read in the context of the discussion about co-productions. Many European countries have quotas for the amount of foreign content that state-financed broadcasters are allowed to run. This impacts co-productions because these days subsidies for a production are dependant on the actual animation being produced in the country that provides the subsidies. European/Japanese co-productions from the '80s and early '90s were often entirely animated in Japan with the Europeans only putting up the money and varying degrees of production input*. None of this affects streaming or commercial television as far as I know. The problem with streaming rights seems to be that rights for a show are sold on a per country basis. I can imagine that it would simply be too much expense for a site like Crunchyroll to procure streaming rights for a small European country that is not going to generate many viewers for them. *I'm grossly oversimplifying here, look up some of Mike Toole's columns un this subject. |
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nobahn
 Subscriber Posts: 5151 |
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From my perspective, this article simply reinforces just how insanely difficult it is to earn a livelihood in the entertainment field.
Words to live by: Don't give up your day job..... |
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GhostShell
Posts: 1009 Location: Richmond, B.C., Canada |
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After reading the article, it is evident that the anime industry in Japan faces many complexities.
This is a concern for Canadian animation networks, as well. This fall, Teletoon has been airing a live-action show called Beyond Human, which has absolutely nothing to do with animation, or animation based characters whatsoever. I'm surprised it doesn't go against their broadcast licence mandate. Hopefully it is not a sign of further animation network erosion. |
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