On March 11, there will be a screening in Ikebukuro of the four newest short films produced by the Young Animator Training Project, now called “Anime Tamago.” The project is was launched in 2010 and funded with support from the Agency of Cultural Affairs, part of the Japanese Ministry of Education, Culture, Sports, Science and Technology. Since 2011, four short films have been produced each year by various studios, the most prominent of which is Little Witch Academia, now a full-fledged TV series. Another short, Death Billiards, also got its concept taken into a full TV series, Death Parade. However, the primary purpose of the project is to train animators. Continue reading “A Gender History of the Young Animator Training Project”
Previously, Female TV Anime Directors.
The series composer works with the director to structure the story of an anime. The composer will also write a significant number of episode scripts for the series – though occasionally they will script every episode themselves. Since 2011, the number of projects with female series composers has generally increased, with the bulk coming along with the trend in anime shorts.
Special thanks to ultimatemegax for reviewing and adding to my data for this subject.
Back in October, we took a look at the Fall 2013 season of anime to get a general idea of the gender inequality among enshutsu, or episode director, roles across the industry. In that season, across all companies, just 10 percent of episodes were directed by women. As one of many follow-ups to that project, we’re focusing on Kyoto Animation. Known for its earlier success with many popular series like Clannad and K-On!, and its modern business practice of being the primary financier of its many series, Kyoto Animation has also developed a reputation of having many women on its staff. At the series director level, Naoko Yamada has become a mainstay of the company. Hiroko Utsumi was tagged to direct the very popular Free! TV series. After leaving the company, Noriko Takao also became a series and movie director with her years of experience at the company. However, this project focuses on enshutsu, a level down from the series director role, but also a likely step for the many who could become a series director. If Kyoto animation is among the better animation companies for hiring women, then that should translate at the enshutsu level as well.
As an addendum to the previous post, and to really illustrate a point of how unusual 2013 was, here is a brief list of female director debuts, excluding assistant directors. Continue reading “Addendum: Female TV Director Debuts 2011-2016”
With an ever-increasing amount of anime getting made each year, so had the number of directors. And with that increase, even more female animators have been given opportunities to direct anime. In 2011, only four series had women directing anime in a lead or series role, including two seasons of Sekai-Ichi Hatsukoi directed by Chiaki Kon. In 2013 the pool increased to 16. Since that year, at least ten series has been directed by women each year. These trends follow when you exclude anime shorts and only look at full-length episode TV series, as well as when looking at just Otaku TV series. However women did direct a sizable chunk of anime shorts.
Continue reading “Female Anime Directors 2011-2016”
This is a list of Winter 2017 TV anime series and shorts with female directors or assistant directors. This season has three full TV series and two shorts directed by women, including one series with a female assistant director. Continue reading “Female TV Anime Directors Winter 2017”
In the near future will be a series of posts about the number of women in certain leadership roles for TV anime productions between the years 2011 and 2016. Instead of simple raw totals, the percentage of the women comprising these roles among anime productions would be better for gauging relative opportunity for women in the anime workforce. As the production of anime has increased and continues to increase, the amount of women has also increased. But it is unclear whether women have also increased their percentage share of production leadership roles. Over the next year, I’ll be returning to the numbers discussed in this totals for current and future research projects. Continue reading “An Attempt to Aggregate the Annual Total Number of Anime”