Critical biography about Kenzo Masaoka, known for “Kuma to Chuurippu” (Bearand Tulip) (1943) and called the father of Japanese animation. He arrived animation via painting and live-action films, and the book also covers hispostwar work as an illustrated book author.
Before World War II, Taihei Imamura’s Manga Eigaron [A Study of Comics and Films] was the only literature on animation. In recent years, there is much literature to read. I recommend literature based on my impressions while reading them, rather than as general source materials. Other than those 10 books I chose, L. Martin’s Of Mice and Magic and Takuya Mori’s Teihon Animation no Gyagu Sekai [General Reader: World of gags in Animation] were two memorable literature sources. It might be presumptuous for me to recommend my coauthored book, Nihon Animation Eiga Shi [A History of Japanese Animation Films], but I am proud to say that the Library of Congress in the United States has purchased it.
Recently it has become easier to research animation history due to theavailability of prewar and wartime animation online. But even so, there has notyet been sufficient research into the several decades between the beginning ofdomestic animation in 1917 through the establishment of Toei Doga in 1956.This list focuses on the period before Toei Doga’s establishment and presentsmemoirs and critical biographies about animation producers, as well as booksthat offer clues for a deeper understanding of their work.
Masaoka was born to a rich landowner’s family. He studied painting at an art school, but he was attracted to films and moved to film production. He was the first Japanese to introduce sound animations and the classical “cel” animation system, as well as streamlining anime production. Hagiwara’s book evaluated Masaoka in art circles and as an anime pioneer.