Ohtsubo(国産100%)

The mandatory targets that must be recorded are (1) through (3), but wouldn't you also like to record (4) through (9) if possible?

When we actually started recording, we realized that there was a wide range of objects to record besides the "main body of work".
The following is a list of "programs eligible for recording".

This figure shows a survey of the information pathways through which Animation Works are released to the public.

We found two problems: "the difficulty of obtaining all broadcast schedules," and "the difficulty of recording all Animation Works "

Here is a table of reasons why we do not know if it is correct.

For this reason, I decided to record the information myself.
To estimate the workload, how many Animation Works are produced annually.
However, we do not know if this figure is correct.

We now know that we have reliable data from other sources than ourselves, but we cannot predict when services or information will stop because of dependence on others.

Although the same degree of caution as wikipedia is required when handling the data, the "Shobo Calendar" is reliable and in an easy-to-handle data format.

Next is "Dictionary of Animation Works - with Commentary and Data on Original Works"

In Japan, it is mainly published in booklet form, which makes it difficult to use in practice.

The most comprehensive and reliable information is that compiled by the List Production Committee.

In particular, the "Annual Perfect Data of All Animation Works".

Therefore, I will provide examples of reliable information that they have independently recorded in each of their attempts.

Many animations have been produced in Japan.
Here is a chart showing the number of works.
Compared to 30 years ago, the number of works is about five times greater.

"Gathering and Recording" of Animation Works

Can we build a theory based on information that will disappear?

However, in the case of animation works, it is necessary to capture the experience of being broadcast or screened and viewed, as well as information that disappears.

It is not possible to describe higher-level information without first capturing the lowest-level information.

When you want to gather and record information on an animation work, you are faced with the difficulty of recording it.
The traditional approach to collecting is to first describe the physical acquisition in terms of its external form and content.

It is very difficult to be aware of this classification and make it the common ground for discussion.

Please think about where you are in your position.

Although the word "anime" may be used in a single word, the tendency of works and the field that the word "anime" refers to differ depending on each person's tastes, lifestyle, and viewpoints.

Whether the animation was produced by a Japanese studio, released in Japan, or produced in a Japanese-style animation format, the boundaries are very vague.

What is a "Japanese" animation work?

What is an "Animation Work"?

However, I found it extremely difficult to try to understand or verify exactly what is meant by "many" and "anime".

This "desire to accurately understand the occurrence of anime in Japan" was the starting point of my research.

It is sometimes said that "Japan is an anime superpower".
In fact, in my daily life, I watch many animations broadcasted every day.

The presentation will be titled
"Accumulation and Development of Information on Animation Works in Japan"

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