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Japan Animator Expo or Japan Anima(tor)'s Exhibition (Japanese: 日本アニメ（ーター）見本市, Hepburn: Nihon Animētā Mihon'ichi) is a weekly series of original net animations released as part of a collaboration between Hideaki Anno's Studio Khara and Dwango, consisting of various anime shorts produced by many directors.
Osamu Kobayashi at the Japan Expo Sud 2011 in Marseille. Osamu Kobayashi (小林 治, Kobayashi Osamu) (January 10, 1964 – April 17, 2021 [1]) was a Japanese animator, illustrator, mechanical designer, and animation director primarily known for BECK: Mongolian Chop Squad and Paradise Kiss; his guest appearance as director of episode 4 of Gurren Lagann, and, most recently, episode 15 of ...
After graduation, he became a freelance motion graphics designer and art director, mainly for animated music videos and promotional videos. In 2011, for making Clammbon 's Kanade Dance MV, he was selected as one of the top 100 video artists of the year in a magazine published by BNN Shinsha, Japan. [ 2 ]
A-1 Pictures (株式会社A-1 Pictures); A.C.G.T (エー・シー・ジー・ティー); A.P.P.P. (Another Push Pin Planning) (アナザープッシュピン・プランニング)
Yoshinori Kanada (金田 伊功, Kanada Yoshinori, February 5, 1952 – July 21, 2009) was an influential Japanese animator originally from Nara, Japan.He is best known for his popular 1984 work Birth, one of the first (after Dallos) original video animations released in the market.
Memories (1995, chief animator and key animator: Magnetic Rose / key animator: Stink Bomb) Blood: The Last Vampire (2000) Metropolis (2001) Cowboy Bebop: The Movie (2001, opening credit sequence director and key animator) Tennis no Ōjisama – Futari no Samurai (2005) xxxHolic: A Midsummer Night's Dream (2005)
Japan Animator Expo: Sokokara no Ashita (2015, key animation) Japan Animator Expo: Obake-chan (2015, key animation) Japan Animator Expo: Sora no Robo kara (2015, animation director, key animation) Khara Co., Ltd.'s 10th anniversary commemorative work: Good child's historical animation Ōkina Kabu (Big stocks) (2016, key animation)
An art movement started by Takashi Murakami that combined Japanese pop-culture with postmodern art called Superflat began around this time. Murakami asserts that the movement is an analysis of post-war Japanese culture through the eyes of the otaku subculture. His desire is also to get rid of the categories of 'high' and 'low' art making a flat ...