外文翻譯--日本的動(dòng)漫產(chǎn)業(yè)趨勢(shì)（外文）

1、Industrial Report (C) JETRO Japan Economic Monthly, June 2005 Japan Animation Industry Trends Japanese Economy Division Summary Japanese animation is in the spotlight not only in Japan, but overseas as well. Amid an exp

2、anding domestic market for films, television and videos, Japanese animation film producers have also been turning their eyes toward overseas markets. At the same time, new developments have been seen in terms of diver

3、sified funding methods for film production. Against this background, the Japanese animation industry is working hard to deal with shortages in certain human-resource skills, reductions in domestic film-production sites

4、 and the challenge of expanding operations overseas. 1. Market Overview Japanese Animation Market in 2004 The talk of the Japan animation market in 2004 was Studio Ghibli’s smash hit, Howl’s Moving Castle, the studio’s f

5、irst new release in three years, which opened in November. Director Hayao Miyazaki’s work exceeded 10 million viewers in just 44 days, faster than any movie in Japan. Its popularity continued thereafter, with viewers r

6、ising to 14.23 million as of March 8, 2005, breaking the mark set by Miyazaki’s Princess Mononoke and placing it number two in Japanese film history. The question now is how close it will get to Japan’s all-time record

7、 of 23.5 million set by Spirited Away. Howl’s Moving Castle has also been shown in South Korea and other countries, including 60 cities across the U.S. beginning in June 2005. Market Environment Japanese animation (“an

8、ime”) has been acclaimed worldwide for its original, Japan-based culture and content, to the extent that it is called “Japanimation.” Director Mamoru Oshii’s animated film Innocence was nominated for an award at the 57t

9、h Cannes film festival in 2004. Innocence is the sequel to Ghost in the Shell (1995), which reached number one on Billboard’s video chart in the United States. Miyazaki’s Spirited Away won the feature length animation

10、Oscar at the 75th Academy Awards in 2003, reprising its capture of the Golden Bear at the 2002 Berlin Film Festival and proving once again Japan produces world-class animation. Many American and Asian animators reporte

11、dly want to work on Japanese anime productions, indicating that Japanese animation is viewed by professionals as leading its field. Spirited Away’s commercial success, however, demonstrated Japanese anime’s merits and i

12、nternational competitiveness among the global general public as well. The world clearly views Japanese anime as having potential for big business. Nonetheless, the industry has not yet shifted its posture sufficiently

13、to respond to overseas acclaim. Moving forward, the Japanese anime industry not only must expand overseas, it also must develop the necessary production/distribution systems and personnel to capitalize on the global bu

14、siness opportunities for anime and other content. Production systems have in fact been set up, but the industry still has many glaring weaknesses in domestic/overseas distribution and rights, such as licensing and inte

15、rnational business expertise in general. In the field of personnel development, animators do not have a suitably high social standing, so the exodus of such personnel to other industries and countries has become a larg

16、e problem. 2. Industry Structure Television stations, ad agencies, toy companies and anime production houses form production consortiums to undertake joint planning. Toy companies join at this point because they are ind

17、ispensable to the secondary use of characters in the case of TV anime. Actual production is undertaken by a prime contractor supported by numerous subcontractors in every phase of production. Statistics regarding anime

18、specialists, entrepreneurs involved with anime, and employers are unclear, but there are said to be around 430 anime production houses in Japan. Of these, 264, or 61.4%, are concentrated in Tokyo’s 23 central wards, wit

19、h Nerima and Suginami accounting for particularly high percentages. Enterprises that primarily produce feature anime for theater release are the exception, as most anime production companies produce for TV. Financing f

20、or the anime industry is diversifying. Content such as anime was previously considered unable to offer any guarantees, so backup financing was difficult to obtain. In 2004, Industrial Report (C) JETRO Japan Economic Mon

21、thly, June 2005 incomes of 10 million yen. Japan’s first anime vocational graduate school is scheduled to open in April 2006, serving as a location for training personnel in the advanced skills required by today’s anima

22、tion industry. This is a venture directed by Wao Corporation, which set up the first vocational school to train animators in 1997. Studio Ghibli: Model of Success for Feature Anime Studio Ghibli’s titles serve as model

23、s for the production of feature anime. Studio Ghibli has an established method for creating major pictures with the backing of TV stations, publishing houses, ad agencies and others under the production consortium formu

24、la, which is credited with stabilizing capital procurement while generating high-quality works. For Studio Ghibli’s representative work, Spirited Away, the production consortium formed with Tokuma Shoten Publishing, Nip

25、pon Television Network, Dentsu (Japan’s largest ad agency), Tohokushinsha Film and others came up with approximately 2.5 billion yen for production costs. The companies participating in the consortium split the costs a

26、nd divided the profits in proportion to their respective investments. Because three-tiered income from the box office, video/DVD and TV was anticipated, it was not surprising that firms of this type took part in the co

27、nsortium and that their participation strengthened the marketing of the film. Spirited Away’s production cost was an extraordinary amount, given that a Japanese film that grosses one billion yen at the box office is c

28、onsidered a major hit. Ghibli’s success has spurred companies such as Toei Animation to renew their interest in feature-length anime movies. Other companies are also considering producing higher-quality films for theate

29、rs, even if the costs are higher, and releasing these and other anime overseas. 3. Import and Export Trends: Overseas Releases Japanese anime broke into the world market beginning in the 1980s, after which it steadily es

30、tablished a leading position. TV cartoons such as Astro Boy, broadcast in the U.S. from 1963, and A Dog of Flanders broadcast in Europe have long been accepted by viewers outside Japan without any conscious recognition

31、 that these works were made in Japan. Doraemon has been a popular anime in Asia and Sailor Moon, Dragonball and other TV anime features that were popular in Japan have also gained popularity in Europe. In the U.S., Aki

32、ra and Gundam and Studio Ghibli titles have enjoyed success. Ghost in the Shell made news in 1998 when it topped Billboard’s video sales chart in the U.S.A. International sales data is not exact, but around 60% of the

33、anime shown worldwide is made in Japan, according to a METI report issued in January 2004. Twenty Japanese anime programs were being broadcast on American TV as of March 2003. While Japan supplies anime to markets aroun

34、d the world, its animation imports are primarily American or European titles. Production Reflects Overseas Market Considerations Shogakkan’s Pokemon, the animated version of Nintendo’s portable game software, was the fir

35、st huge success by a Japanese anime overseas. Released in 45 countries and regions around the world, as of the third installment of the series it had generated overseas box office revenues of 38 billion yen, or double

36、that in Japan. Gross global earnings, including related products, are estimated at three trillion yen. Pokemon was noted for the enormity of its character-related business, bolstering the impression that anime was an e

37、xtremely important element in generating appeal for characters. The general rule in the past was that TV anime or movies that enjoyed a certain degree of popularity in Japan would be offered overseas, but titles produced

38、 recently have increasingly borne overseas markets in mind from the outset. In addition, most export titles through the 1990s were TV programs, but Spirited Away’s success has prompted attempts to develop artistically

39、appealing feature-length works for overseas release. TV stations are also actively trying to move overseas; NHK announced in April 2004 that it would produce Phoenix, an original work of Osamu Tezuka, and sell it over

40、seas. Interest in Japanese Anime Increases The Disney Group has set up an entertainment content purchasing division within its Japanese organization, which until then had focused on distributing Disney animation in Japan

41、. It is now buying Japanese anime with games and other products for distribution in 54 countries. Joint film and anime productions in Japan are also being considered. There are now examples of overseas TV stations and

42、 distribution companies investing in anime produced in Japan and becoming involved from the planning stage, joint productions with overseas production companies being broadcast in both countries, and overseas productio