This is a recapitulation of a series of articles written by Mori, an animation and film critic, entitled “douga eiga (animation) no keifu” [A geneology of motion pictures (animation)] that appeared from September 1962 to October 1963. Unfortunately, his critique of Disney animations, which can be regarded as a hallmark of his writings, was censored and entirely cut by Disney.

This is a major revision of a series of articles, entitled “Sekai no Anime Shi” [A World History of Animation], which appeared in the monthly journal “Animage,” published by Tokuma Shoten Publishing as written by an animation historian, Tomono and Late Mochizuki. The history of animation around the globe, which was recently added, remains of great academic value.

This is an impressive series of critiques by Gomi (maiden name: Tomizawa), the then-Chief Editor of a coterie magazine, “FILM 1/24.” Gomi evaluated animated works—Japanese or foreign, long or short—from a balanced perspective without favoritism. She was honored with the Ōfuji Noburō Award in Anime Division in the Mainichi Film Award.

This is an impressive series of critiques by Gomi (maiden name: Tomizawa), the then-Chief Editor of a coterie magazine, “FILM 1/24.” Gomi evaluated animated works—Japanese or foreign, long or short—from a balanced perspective without favoritism. She was honored with the Ōfuji Noburō Award in Anime Division in the Mainichi Film Award.

The author’s area of expertise is fine arts and the history of motion picture. The book discusses the history of Japanese animation by comparing it from its inception in 1917 to today’s prosperity with foreign animations that have been imported and released in Japan. It considers not only box-office hits but also avant-garde and experimental works.

Published for the first time in Japan, this is of high academic value as a study on animation. As an enthusiastic film fan, Imamura regularly visited a news film theatre established in Tokyo, analyzing and evaluating short Disney Fleischer animation films. He should be rightfully acknowledged as the first person to focus on animations.

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.

As avpsychology professor at Nihon University, Yokota analyzed box-office animations from a psychology perspective. He interpreted films like Your Name, In This Corner of the World, and Frozen, as well as intricate situations in the Forest of Labyrinth in The Great Adventure of Horus, Prince of the Sun, by the late Isao Takahata.

Late Takahata released many books. In 1955, he was moved by a French animation called La bergère et le ramoneur and was employed as a producer by Toei Douga (Current Toei Animation Co., Ltd). This is the only literature source where he gave a detailed analysis of La bergère et le ramoneur, which provided impetus for his becoming an animation director and its remade version, Le Roi et l'Oiseau.

Hoshi, the editor and author of the book, uncovered and featured less-recognized anime creators and, nevertheless, contributed to Japanese anime as background roles, while excluding famous anime producers like Hayao Miyazaki. A chapter dedicated to Akira Daikuhara, who took an active part as the first lead animator for Toei Douga, is excellent.