Which website has statistical data of Japanese TV animation, including annual output, monthly output, production company, ratings, etc. Thank you.

Second, the production of animated films is increasingly breaking the monopoly of large companies and becoming completely popular. The ability of small and medium-sized companies to make animated films is getting higher and higher. As an animation genre, Dongying Company only accounts for 1/5 ~ 1/6 of the total production. And independent small and medium-sized companies, although the number of annual production is small, but these small and medium-sized companies are the pillars of Japanese animation film production.

Thirdly, after the popularization of digital technology, the process of making cartoons has become increasingly simple, the progress has been accelerated, and the level of works has been continuously improved, gradually reconciling the contradiction between the cost of Japanese animated films and the art of animation.

In fact, just a few rare geniuses and masters such as Miyazaki Hayao, Gao Tianxun, Mamoru Oshii and Dayou Shengbo can't support the whole Japanese animation industry in Long Xing. At present, there are about 440 animation production companies in Japan, including "OEM" processing companies, alliance companies and group companies. And 90% of them are located in the metropolitan area centered on Tokyo. These companies can produce 70 ~ 80 episodes of animation works every week. At the same time, in the periphery, some animation production companies in China, Shanghai, South Korea, the Philippines, Indonesia and other places have been brought into the Japanese animation industry chain and become their cheap and efficient "OEM". Therefore, the production energy of this industrial ship is huge, and the fineness of its associated biological chain is also amazing.

The Japanese film industry has made some progress in recent years, but it is also full of crises. Judging from the total number of cinema screens in China, 1.994 dropped to 1.700, then bottomed out and reached 2635 in February 2002. In 2003, it continued to rise slowly to 268 1. In 2004, although some single cinemas closed down, compared with the same period last year, the overall number remained at 65438+. The main reason for the increase in the number of screens is that after 2000, a large number of five-screen compound cinemas were expanded in commercial streets in cities and suburbs, which led to a sharp increase in the number of screens. What is worrying is that the proportion of Japanese-made films shown on these screens can't compete with foreign imported films at all. The Japanese film industry actually presents a state of "high outside and low inside". In other words, foreign films often account for about 70% of the total box office, while domestic films barely reach 30%. Domestic movies have been greatly impacted by Hollywood blockbusters. First of all, of course, it is closely related to the globalization offensive of Hollywood movies. Internally, Japan experienced the second wave of "western learning spreading to the east" since World War II, that is, it completely accepted American culture in a submissive manner, which also became the deep reason for Japan's unconditional acceptance of Hollywood movies. But in this film industry, we can still see the important position of animation in the whole Japanese film and television culture industry.

According to the statistics of Nissan's box office since 199 1 published in Japan's Ten Days of Movies, we can calculate that the comic box office basically accounts for more than 60% of Nissan's total box office every year. In the past ten years, Japanese domestic movies have been in the top ten box office, and cartoons always occupy more than five seats. Take 200 1 as an example. In that year, the total box office income of Japanese films was 200 billion yen, the daily production of films was 7865438+/kloc-0.4 billion yen, and the top ten films were 55.4 billion yen. Among them, cartoons accounted for 6 seats, and the income reached 44.25 billion yen, accounting for 79.87% of the top ten total income. It can be seen that animated movies have stronger box office influence than real movies.

If Spirited Away's overall success makes the 201Japanese film industry look special, then let's look at 2002: the first prize of Thanksgiving for Cats was 6.46 billion yuan, the second prize of Detective Conan was 3.4 billion yuan, the fourth prize of Pokemon was 2.765438 billion yuan, and the fifth prize of Robot Cat was 23.

Based on the ranking of movie box office in each year, it can be clearly seen that except for the occasional dark horse, most of the movie box office revenue is created in the cinema version of cartoons, that is, the "theater version". The so-called theatrical version is actually created on the basis of TV animation series that have been deeply rooted in people's hearts, such as robot cat series, crayon Shinchan series, and detective Conan series. The "theatrical version" always attracts enough audience's attention and creates a lot of box office income, which is why they occupy a prominent position in the box office rankings. Cartoons specially made for cinema screening, such as Spirited Away, are actually not mainstream. Therefore, Guibli (5) should be said to be a "tributary" or "heterogeneous" relative to the "mainstream".

According to the data of "White Paper on Information Media in 2002" issued by Dentsu Corporation of Japan, the size of Japanese animation market in 2002 was 654.38+086 billion yen, and the turnover of related products reached 2 trillion yen (including movies and TV cartoons). The export of animation industry to the United States is even four times that of Japanese steel industry. Therefore, the animation industry has increasingly become the pillar of Japanese film and television culture industry and an important part of the entire economic system. Judging from the development of Japanese films since 1970s, if peach films have supported the development of Japanese films in terms of output and training new directors, then cartoons have saved face for the Japanese film industry at the box office.

Animation culture: the foundation and mainstream of national characteristics

The rapid progress of digital technology, on the one hand, has brought infinite expressive force to Japanese animation, on the other hand, it has completely turned animation into an industrial ship; The maturity of the sales system makes cartoons the box office savior of Nissan movies. Japanese animated films with finer division of labor and finer picture quality are still flourishing today. The author believes that the mainstay position of Japanese animated films in this country's film industry is certainly related to the virtuous circle of its production-distribution-related industry sales network, but fundamentally, the popularity of animation in Japan is not only the result of industrial cultivation, but also has a considerable relationship with Japan's national characteristics and national psychology. Can be summarized as the following aspects:

First, Japan's unique animation culture is the basis for the dual development of animation industry and art.

After years of accumulation, Japan's comic book publishing volume has occupied the first place in the world, and its quality is constantly improving. Some people think that Japanese animation culture should not stop at the cartoons that started in Beizhai, but has a long history-/kloc-the tradition of bird and beast painting in the 0/2nd century and the funny satirical cartoons in the European style in Meiji era, which gave birth to modern Japanese animation culture and mature audience psychology. In the white paper on education in 2000, the Ministry of Education of Japan called Japanese manga "Japanese culture" for the first time and positioned it as "one of the important modern expressions". At present, the comic book publishing industry accounts for about 40% and 20% of the total sales in China, which has attracted wide attention overseas and frequently appeared in domestic art galleries and other exhibitions.

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In-depth comment: 50 years of Japanese anime movies (turn)

Author: Shu Yong Source: China Animation Network September 30, 2007

Animation film is an important part of Japanese film, and it is also an important field that can not be ignored when investigating Japanese film. Animation has been created in Japan for 90 years, and has formed a mature art form and a stable audience market, occupying a place in the international art film circle. From the perspective of economic effect, Japanese animated films have formed a complete industrial chain from production to sales. The production energy of this industrial spacecraft is huge, and the fineness of its associated biological chain is also amazing.

At present, China animation has entered an important year of development. While improving its cultural content and economic competitiveness, China animation needs to learn from the experience of other countries, especially the successful experience of Japanese, which belongs to the Confucian cultural circle, so as to achieve a win-win situation in culture and economy in the future.

In 2004, seven CG animated films, represented by Miyazaki Hayao's Moving City of Hal, Tomoto Tomoto's Steam Boy and Mamoru Oshii's Innocence, were released intensively, which ushered in an inevitable heyday for the Japanese film industry. The main purpose of this paper is to investigate the production and sales of Japanese animation industry within the scope of the whole Japanese film industry and analyze its development reasons.

Animation: a mature model after years of precipitation

When it comes to Japanese animation industry in 2 1 century, there are three words that cannot be avoided, namely "number", "cooperation" and "globalization". However, after nearly 50 years of development, the mature Japanese animation industry started from the traditional system centered on big studios.

If the personalized short film production in the early days of Japanese animated films is not included in the vision of this study, then from the perspective of the changes in the production process, Toyo Animation Company was the main producer of Japanese long animated films in the early days after the war, which was established in April 1956. Toyo Animation Company has recruited many animation talents, such as Takeshita Taisi, Yamamoto Zenjiro and Mori Kang, and created too many firsts in the history of Japanese animation: the first full-length color animated film Legend of the White Snake and the first wide-screen work Young Sarutobi Sasuke ... While Toyo Animation Company based in Disney has a long production cycle, and its characteristics can be illustrated by three "3s". A 90-minute regular cartoon with a budget of 60 million yen and a production cycle of one and a half years. Such a huge production threshold makes most people flinch. Japanese animation company almost monopolized the Japanese animation market until the "limited animation" advocated by Osamu Tezuka appeared.

Since 1960, Japan has popularized color TV and started broadcasting color TV programs. Television-based animation has become an inevitable development trend. Since 1963 took Astro Boy as an opportunity in Osamu Tezuka, the animation industry has developed strongly in the field of TV cartoons, and Japanese animation films have made great progress that other countries can't match. The word "Japanization" is deeply rooted in the hearts of Europeans and Americans. The developed interactive system of "Comics-TV-Video Games-Toys" has made the four products receive a wide range of commercial effects at the same time, making toy manufacturers, TV stations, publishers, video game manufacturers and creators happy. Therefore, whenever a new cartoon/animation/video game character is created, the whole country will watch it and participate in evaluation and discussion, even the old people year after year are no exception.

Animation film and culture are inseparable. From 1963 to the early 1970s, the Japanization of Japan entered a real rapid development stage. Just like a child who took hormones in infancy, he suddenly became a monster, which brought pressure to other animation cultures in the world. There are more and more animation programs broadcast by TV stations, and the broadcasting frequency is getting higher and higher. At the same time, the quality of domestic animators can't keep up. Large companies can still rely on their abundant funds to dig old animators in Dongying Animation Company, or hire famous comic writers with high salaries. Small companies can only hire some bad comic writers, even comic fans who have never graduated from high school. In the spiritual orientation of the works, due to fierce competition, money, violence and sex are gradually flooding in animated TV. Comics, as works of art, have disappeared in kitsch TV animation series. At the same time, in order to meet the needs of the situation, Dongying Animation Company terminated the practice of hiring employees on a regular basis and invested manpower and material resources to produce a long TV animation series. In this way, it is inevitable that the painting style is erratic and the technology is shoddy. Highly developed technology, which should be widely used, gives way to other simple and quick methods in limited animation. Although there are still animators sailing against the current, they continue to make "complete" long animated films, such as Yugo Serikawa's 1964 "The Naughty Prince Snakes" and Shirakawa's masterpiece 1963 "Wang Cang". In August, with 197 1, Ookawa Hiroshi, president of Dongying Film Company, started the feature-length animated film industry.

Because Japanese TV animation series has earned enough income in China and can be exported at low prices, it has successfully entered the European market. Western European TV stations headed by Italian state-run TV station RAI have invested in Japan to produce new TV cartoons.

Since the 1990s, in addition to the progress of traditional animation technology and the deepening of cultural connotation, the rapid development of computer technology has also provided infinite possibilities for the transformation of animation industry and art, especially CG technology, which started in 1994, has promoted the rapid change of the whole animation aesthetics. Technically speaking, after multiple celluloid images overlap, the transparency will decrease, leading to the background darkening or even discoloration. But digital technology can completely solve this problem; As far as color is concerned, it is commendable that celluloid uses 300 colors, but digital technology can accommodate16.7 million colors. The earliest Japanese digital animation work should be 1996' s Rollo Kitaro (30 minutes). Except for the original painting and animation, all the production steps of the film are digital. The old Dongying animation company also began to use digital technology in some of its works. With the progress of technology, in order to save money and manpower, and to pursue excellent performance in screen performance, the name of Dongying Animation Company was officially changed from "Dongying Animation Company" to "Dongying Animation" on 1998. Since then, digital technology has been fully applied to its production.

At the same time, a large number of small production companies are not far behind, and have joined the CG animation production army. As a result, the studio system of Dongying Animation, which has always been proud of, has completely lost its superiority, facing a major impact and the photography platform is dusty. Digital technology has brought the revolution of animation industry in the new era.

Combined with the above analysis, since the 1960s, the production of Japanese animated films has shown the following characteristics:

First, the output has been maintained at a high and stable level of development.

Second, the production of animated films is increasingly breaking the monopoly of large companies and becoming completely popular. The ability of small and medium-sized companies to make animated films is getting higher and higher. As an animation genre, Dongying Company only accounts for 1/5 ~ 1/6 of the total production. Independent small and medium-sized companies, although the number of productions is small every year, are the pillars of Japanese animated film production.

Thirdly, after the popularization of digital technology, the process of making cartoons has become increasingly simple, the progress has been accelerated, and the level of works has been continuously improved, gradually reconciling the contradiction between the cost of Japanese animated films and the art of animation.

In fact, just a few rare geniuses and masters such as Miyazaki Hayao, Gao Tianxun, Mamoru Oshii and Dayou Shengbo can't support the whole Japanese animation industry in Long Xing. At present, there are about 440 animation production companies in Japan, including "OEM" processing companies, alliance companies and group companies. And 90% of them are located in the metropolitan area centered on Tokyo. These companies can produce 70 ~ 80 episodes of animation works every week. At the same time, in the periphery, some animation production companies in China, Shanghai, South Korea, the Philippines, Indonesia and other places have been brought into the Japanese animation industry chain and become their cheap and efficient "OEM". Therefore, the production energy of this industrial ship is huge, and the fineness of its associated biological chain is also amazing.

Animation sales: the savior of Japanese film industry

As mentioned above, the productivity of Japanese animation industry has become self-contained, so what is its sales situation?

The Japanese film industry has made some progress in recent years, but it is also full of crises. Judging from the total number of cinema screens in China, 1.994 dropped to 1.700, then bottomed out and reached 2635 in February 2002. In 2003, it continued to rise slowly to 268 1. In 2004, although some single cinemas closed down, compared with the same period last year, the overall number remained at 65438+. The main reason for the increase in the number of screens is that after 2000, a large number of five-screen compound cinemas were expanded in commercial streets in cities and suburbs, which led to a sharp increase in the number of screens. What is worrying is that the proportion of Japanese-made films shown on these screens can't compete with foreign imported films at all. The Japanese film industry actually presents a state of "high outside and low inside". In other words, foreign films often account for about 70% of the total box office, while domestic films barely reach 30%. Domestic movies have been greatly impacted by Hollywood blockbusters. First of all, of course, it is closely related to the globalization offensive of Hollywood movies. Internally, Japan experienced the second wave of "western learning spreading to the east" since World War II, that is, it completely accepted American culture in a submissive manner, which also became the deep reason for Japan's unconditional acceptance of Hollywood movies. But in this film industry, we can still see the important position of animation in the whole Japanese film and television culture industry.

According to the statistics of Nissan's box office since 199 1 published in Japan's Ten Days of Movies, we can calculate that the comic box office basically accounts for more than 60% of Nissan's total box office every year. In the past ten years, Japanese domestic movies have been in the top ten box office, and cartoons always occupy more than five seats. Take 200 1 as an example. In that year, the total box office income of Japanese films was 200 billion yen, the daily production of films was 7865438+/kloc-0.4 billion yen, and the top ten films were 55.4 billion yen. Among them, cartoons accounted for 6 seats, and the income reached 44.25 billion yen, accounting for 79.87% of the top ten total income. It can be seen that animated movies have stronger box office influence than real movies.

If Spirited Away's overall success makes the 201Japanese film industry look special, then let's look at 2002: the first prize of Thanksgiving for Cats was 6.46 billion yuan, the second prize of Detective Conan was 3.4 billion yuan, the fourth prize of Pokemon was 2.765438 billion yuan, and the fifth prize of Robot Cat was 23.

Based on the ranking of movie box office in each year, it can be clearly seen that except for the occasional dark horse, most of the movie box office revenue is created in the cinema version of cartoons, that is, the "theater version". The so-called theatrical version is actually created on the basis of TV animation series that have been deeply rooted in people's hearts, such as robot cat series, crayon Shinchan series and detective Conan series. The "theatrical version" always attracts enough audience's attention and creates a lot of box office income, which is why they occupy a prominent position in the box office rankings. Cartoons specially made for cinema screening, such as Spirited Away, are actually not mainstream. Therefore, relative to the "mainstream", Ghibli should be said to be a "tributary" or a "heterogeneous".

According to the data of "White Paper on Information Media in 2002" issued by Dentsu Corporation of Japan, the size of Japanese animation market in 2002 was 654.38+086 billion yen, and the turnover of related products reached 2 trillion yen (including movies and TV cartoons). The export of animation industry to the United States is even four times that of Japanese steel industry. Therefore, the animation industry has increasingly become the pillar of Japanese film and television culture industry and an important part of the entire economic system. Judging from the development of Japanese films since 1970s, if peach films have supported the development of Japanese films in terms of output and training new directors, then cartoons have saved face for the Japanese film industry at the box office.

Animation culture: the foundation and mainstream of national characteristics

The rapid progress of digital technology, on the one hand, has brought infinite expressive force to Japanese animation, on the other hand, it has completely turned animation into an industrial ship; The maturity of the sales system makes cartoons the box office savior of Nissan movies. Japanese animated films with finer division of labor and finer picture quality are still flourishing today. The author believes that the mainstay position of Japanese animated films in this country's film industry is certainly related to the virtuous circle of its production-distribution-related industry sales network, but fundamentally, the popularity of animation in Japan is not only the result of industrial cultivation, but also has a considerable relationship with Japan's national characteristics and national psychology. Can be summarized as the following aspects:

First, Japan's unique animation culture is the basis for the dual development of animation industry and art.

After years of accumulation, Japan's comic book publishing volume has occupied the first place in the world, and its quality is constantly improving. Some people think that Japanese animation culture should not stop at the cartoons that started in Beizhai, but has a long history-/kloc-the tradition of bird and beast painting in the 0/2nd century and the funny satirical cartoons in the European style in Meiji era, which gave birth to modern Japanese animation culture and mature audience psychology. In the white paper on education in 2000, the Ministry of Education of Japan called Japanese manga "Japanese culture" for the first time and positioned it as "one of the important modern expressions". At present, the comic book publishing industry accounts for about 40% and 20% of the total sales in China, which has attracted wide attention overseas and frequently appeared in domestic art galleries and other exhibitions.

The animation industry closely related to it has developed rapidly and comprehensively with the help of the giant animation industry. Many times, the characters and story of a mature and best-selling cartoon have already been deeply rooted in people's hearts. Through long-term mass communication, they have formed certain "groupies" or "enthusiasts" in society, and they have become potential hardcore viewers of film and television. After the cartoon theme is adapted into an animated TV series and broadcast on TV for a long time, people have psychologically accepted its characters and plot mode. Finally, it was adapted into a "theatrical version" film for public release. This is an extremely pleasing way: the long-term broadcast of TV dramas has cultivated a fixed audience; A slight change in the story will arouse the interest of die-hard audiences; In addition, a mature TV drama foundation can keep the production cost to a minimum.

Second, the universality of audience psychology.

Judging from the national characteristics and psychology of Japanese people, regardless of men, women and children, Japanese people are obsessed with animation and related cultures. The positioning of Japanese animation culture is also very accurate and extensive, and it is by no means preaching to children. The Japanese can draw anything into a cartoon and then adapt it into an animated TV or movie. In recent years, there are not only children's cartoons, but also classic literary masterpieces, The Story of the Ping Family, which deconstructs authoritative discourse, and even works in the fields of economics and philosophy such as Capital. The literary/comic scripts of this series of animated films have been popular for many years. Although the children who watched them grow up in those years have grown up, they have not changed their mood to relive the fun of childhood, and even took their children to see the animated characters that accompanied them. This part of the audience also occupies a large share of the box office.

In the early development of animated TV, in order to cover up the sense of visual stagnation caused by the poor technique of "limited animation", the theme was infinitely abstract and surreal, and it tended to discuss topics such as robots and outer space. Inheriting this move, the themes widely used in Japanese animation at present are mostly thinking about the value and state of human existence after the popularization of computer/mechanization, the unity and alienation of man and machinery, the fate and spiritual home of human beings and so on. These world views infiltrated in animation works are more and more abstract, even surpassing the actual feelings of ordinary people. Japanese cartoons dress themselves up as philosophers, thinkers and saviors of the future of mankind. At present, Japan has achieved economic hegemony, and constantly seeks political hegemony and military status in the international arena, and the whole nation's thinking is pan-right. Comics undoubtedly shoulder the heavy responsibility of venting and expressing Japan's national political and military demands.

Animation was once regarded as "vulgar and shameless" by the official discourse represented by the Japanese Ministry of Education. However, judging from the recognition of animation culture in the government white paper in 2000 and the status of animation represented by Spirited Away in the world film art world, animation has become a model of Japanese culture/economy. After a long period of exploration and development, the civic culture full of vulgar tastes has finally been summoned and returned by the mainstream discourse, boarded the elegant hall with the characteristics of noble and ugly contradictions, and sat in the first place of national culture and national economy with dignity.

Japan Animation Association released the official statistics of "Japan Animation Development and International Comparison" in 2009.

63 1 day 20 hours and 35 minutes ago

Source: original

This article is also posted to: No animation information.

At the end of March, Japan Animation Association exhibited a series of statistical data on the comparison between Japanese domestic animation and foreign animation at the annual event "2009 Japan International Animation Exhibition", and the unit also published this information in official website a few days ago. The following is the report "Japanese Animation Evolution and International Comparison" released by Japan Animation Association:

◆ The number of Japanese animated films and box office revenue curve (1958 ~ 2008)

In 2008, in addition to Doraemon, Crayon Shinchan, Detective Conan, Poké mon and so on. The most popular Japanese animated film is Ponyo on a cliff hanging by the sea in Miyazaki Hayao.

At first, many film critics thought that Ponyo on a Cliff by the Sea was mainly a children's work, so they were not optimistic about the box office revenue, but after the film was released, these predictions were greatly overturned. Although it has not surpassed the box office figures of Hidden Girl of 30.4 billion yen (the Japanese box office champion in 200 1 year) and Hall's Moving Castle of 20 billion yen (the Japanese box office champion in 2004), Ponyo on a Cliff by the Sea may be similar to My Neighbor Totoro in story content, character characteristics and work characteristics, and will become a long-term popular work.

◆ Evolution of the number of Japanese TV animation works (1963 ~ 2008)

1963 Japanese original 30-minute long TV animation "Atomic King Kong" came out, and then Japanese TV animation gradually flourished. Japan's unique "Late Night Animation Time" works began to increase rapidly in the second half of1990s, but after entering 2000, this growth direction did not change, and reached the highest point in the project screening record so far in 2006.

Although the number of works in 2007 and 2008 showed a decreasing trend, it will take several years to judge whether this represents a decrease in the output of animation companies or whether this is a return to normal market demand.

◆ Evolution of Japanese Animation Working Time (2003 ~ 2008)

In the statistics of Japanese animation "Working Hours", all animations released from the beginning of each year to the end of each year (including video albums in DVD and parts not played on TV) are taken as the objects, and this part reached its peak in 2006. Here, we also compare the "general time (5: 00 to 23: 00)" mainly for children with the "late night time (23: 00 to 5: 00)" for the elderly audience.

Comparing the data of 2008 and 2007, we can find that the number of works of General Time has decreased by about 5000 minutes, and after conversion, it is about 169 episodes of 30 minutes. The part of "Late Night Time" is reduced by 9500 minutes, which is about 30 minutes in 3 17 episodes after conversion.

In addition, although the animation works in1990s began to increase rapidly after the birth of "late night time", the animation of "general time" gradually decreased under the influence of declining birthrate, so the total number of later works can be said to change with the number of animations in late night time.

◆ Japanese animation DVD sales trend (1999 ~ 2007)

Since the statistics of 2008 have not been officially released, it is impossible to draw a conclusion, but for the animation industry, the biggest impact in 2008 can be said to come from the birth of Blu-ray Disc.

Looking back, it can be said that the evolution of video media from video tape to DVD is very successful. At present, the initial shipments of Blu-ray discs such as Time and Space Frontline and Lu Lu Hugh R2 Rebellion codenamed GEASS have reached about 50,000. Therefore, it is very important to popularize Blu-ray discs from this year to next year.

◆ The related income of network and mobile phone animation works of affiliated institutions of Japan Animation Association (2002 ~ 2007)

In recent years, the rapid growth in Japan also includes online and mobile animation works. Although there was an overall increase from 2005 to 2006, it slowed down in 2007. Although the data of 2008 has not been published, it can be seen that the Internet and mobile phones have become the new mainstream publishing platforms.

Evolution of Commodity Markets around Japanese Animation Characters (200 1 ~ 2007)

Although the commodity market around Japanese anime characters began to decline sharply in 2002, it rose at a very slow speed and recovered to the level of 2002 in 2007. If we carefully observe the pre-sale rankings in recent years, we can also find that almost all of them are fixed roles.

◆ Evolution of animation hours in China (2003 ~ 2008)

This chart is based on the information released by the China State Administration of Radio, Film and Television, including comic book animation and movie animation, but not all works are officially allowed to be broadcast in China.

◆ Compare the number of 2D and 3D animated films in the United States (1995 ~ 2008)

Since 1995, the world's first 3D CG animation came out, it can be said that there are almost no 2D animated films in Hollywood, and according to the chart trend, it seems that it will continue to evolve in this direction in the future. Observing the chart, we can find that the number of 3D animation production in the United States has greatly increased. In addition to Pixar Animation and DreamWorks, which almost monopolized the market in the past, many other film companies have gradually entered this field.

In addition, from February 2007 to June 2008, the number of animation works made for "children" in Japan, the United States and other countries was also counted. Japan has produced 55 works, the United States has produced as many as 35 1 works, and the total of other countries is 465438+.

The Japanese Animation Association provided the complete newspaper clippings of Japanese Animation and International Comparison, which can be downloaded from official website.

PS: There is nothing direct, I can only find some original ones for you ~