Shanghai Zhangjiang cultural technology creative industry development co., ltd

In order to learn from Japan's advanced experience in developing animation industry and clarify the thinking of "Shanghai Cultural, Technological and Creative Industry Base" (hereinafter referred to as "the base") in developing animation industry, the deputy general manager of Zhangjiang Group led a delegation from Zhangjiang Group, Xinmin United Newspaper Group, Zhangjiang Cultural, Technological and Creative Industry Development Co., Ltd. and the cultural management department of Pudong New Area Government 10 on April 2, 2002. On 1 1 day in Japan, the delegation visited the 2005 Tokyo International Animation Exhibition, visited Japanese animation associations, publishing houses, animation/game production companies, derivative products developers and other related enterprises, and finally visited Tokyo Disneyland and Aichi World Expo in the last few days.

"Tokyo International Animation Exhibition 2005" brought together all Japanese animators, and all the latest animated TV and movies were first exposed here. There are 197 exhibitors, including animation production companies, radio and television stations, copyright companies, animation-related product manufacturers and auxiliary companies, animation colleges/universities, etc. It can be said that it is a concentrated display of the entire Japanese animation industry. Through the exhibition on April 2nd and 3rd, the delegation got a macroscopic and intuitive understanding of the mature Japanese animation industry.

Then the 13 enterprise visited also covered all links of the animation industry chain, which pushed the delegation's understanding and understanding of the Japanese animation industry to a deeper level.

The overall characteristics of the development of Japanese animation industry

1. The animation industry is highly developed.

After more than 50 years of development, today's Japanese animation industry has reached the scale of 3 trillion yen per year. A complete industrial chain composed of freelancers, individual studios, publishing houses, TV stations, animation production companies, industry associations, toy developers, game developers and educational institutions covers comic book publishing, animation TV film production, derivative product development, electronic game development, vocational education and mobile phone value-added services.

In Japan, comic magazines and singles account for 45% of the total circulation of magazines and books, including science fiction, adventure, politics, economy, anecdotes, love, sports, history, science, religion, humorous jokes, literary novels, documentary reportage and so on.

Cinema shows about 80 cartoons a year, TV shows about 75 cartoons (episodes) a week, and about 3900 cartoons (episodes) a year; Moreover, Japanese animation also occupies an important share in the international market. 60% of the cartoons broadcast in the world are made in Japan, while the proportion in Europe has reached 80%.

2. Animation consumers have a large age span and the market is highly segmented.

On 1 1 day in Japan, we deeply feel that this is a country where all people read comics. Children at school, office workers who take the subway in the morning and evening, and even truck drivers waiting for red lights are watching cartoons. Among the convenience stores that can be seen everywhere, the most striking ones are colorful comic books and magazines. The newly released mobile phone download comics based on 3G mobile phone platform are also enthusiastically sought after and expected by the market. These are enough to reflect the extensive consumer groups of Japanese animation industry.

But this does not mean that an animation can be suitable for all ages in Japan. On the contrary, the Japanese animation industry has a high degree of market segmentation. Not to mention comic products of different ages, even comic magazines for teenagers are divided into boys' and girls' editions.

At the same time, Japan's animation industry has also become an important carrier of erotic violence culture, not to mention restricted works, even unrestricted works, erotic violence elements can be seen everywhere. This is also the result of excessive competition, market saturation and insufficient government intervention in Japanese animation industry.

3. The animation industry chain with copyright as the core is complete and mature.

Japanese traditional animation industry chain is shown in the following figure:

The core of this industrial chain is creative intellectual property, or copyright, which exists in different forms in different links of the industrial chain and is endowed with different values while being developed to varying degrees.

The first stage: magazine serialization

This is the stage of copyright formation. No matter how excellent the comic works are, they have no market value before publication, and the reason why magazine serials can become the forefront of the industrial chain lies in their low barriers to entry. After serialization, a comic book is endowed with copyright value. At present, the value of copyright is still relatively low.

The second stage: the single problem

This is the stage where the copyright value continues to develop. There are many comic magazines published in Japan, and the number of serialized works is even more difficult to count. However, only a few works can be published in the form of singles, and only those works that have been recognized and sought after by readers and screened by the market can be published in the form of singles. At this stage, the copyright value has been improved, and the cartoonist's own intangible assets have begun to have market value.

The third stage: the production and broadcast of TV cartoons.

This is a stage in which the value of copyright has greatly increased. As the most powerful form of mass media, the influence of TV is incomparable to that of paper media. When a work is made into a TV cartoon, it means that its copyright value has been greatly improved. At the same time, the production cost of TV cartoons is high and the cost recovery period is long, which greatly increases the market risk. Therefore, the transition from "diffuse" to "dynamic" is essentially a process of screening works by the market. Only works proved to be truly excellent by the market will be made into TV cartoons. At this stage, the value of copyright has reached its peak.

The fourth stage: derivative development

Different from the previous stages of screening and promotion, it is almost the inevitable result of the development of TV animation to derivatives. Due to the high cost of TV cartoons, the price of TV stations can only recover 60%-70% of the cost, and derivative development is an indispensable way to recover the cost and achieve profitability. At this stage, the copyright value is developed and released in various forms and ways.

With the continuous development and maturity of Japanese animation industry, a new industrial chain model has emerged in modern Japanese animation industry.

The chart is as follows:

Several links in the industrial chain are no longer developing in a linear order, but showing a diversified development trend. Publishing houses no longer monopolize the front end of industrial development, and any link in the industrial chain can act as the front end, thus radiating development. For example, Pikachu, which is popular all over the world, has video games first, and then serialized comics; Many of Tecmo's game products have also been adapted into TV and movie works. The "Dim Sum Panda" designed by Bandai for China market even started with derivative products, and then developed animation works to match the sales of dim sum. In this new industrial chain, the core of circulation is still copyright, but the process of forming copyright value no longer depends only on publishers, but as the only way of mass communication, the broadcast of TV cartoons still plays an important role in enhancing copyright value.

The mature Japanese animation industry model is still developing and changing, and the development of 3G mobile phone technology will become one of the important driving forces of this change. In Japan, the existing technology allows mobile phones to download comics for browsing. The cartoons downloaded to mobile phones are basically similar to those published in print, but according to the characteristics of mobile phones, simple sound and vibration effects are added, which can be said to be a new form of comics between comics and animation. At present, there are 80 million mobile phones in Japan, all of which are 3G mobile phones. However, at present, only 654.38+00000 supports comic download service, and it is expected that this number will reach 654.38+000-2000000 next year. I believe that in the near future, mobile phone value-added services will become an important part of the Japanese animation industry chain.

4. Let the market explore and cultivate talents.

Throughout the industrial chain of modern animation industry, originality is the soul of copyright value, and all links in the industrial chain only carry out various forms of expression and commercial development of originality, and the source of originality is talents.

During the investigation, we found that the mechanism of discovering and cultivating original talents in Japanese animation industry is very worthy of our reference and research. Contrary to the situation that many universities in China are scrambling to set up animation majors, there is a common sense in Japanese animation circles: cartoonists are not trained by schools. Looking at the resumes of famous Japanese cartoonists today, it is true that none of them graduated from animation major in colleges and universities. In Japan, where the animation industry is so developed, the training of animation creation is mainly carried out by vocational training institutions, and academic education has only appeared in recent years, which is far less effective in cultivating talents than publishing houses.

The top three publishing houses engaged in comic book publishing in Japan are Jiying Society, Academy and Lecture Society. The comic magazine "Youth Jump" with the largest circulation has an average circulation of 3 million copies and the price is only 250 yen, which is not as good as the price of two bottles of mineral water in Japan. Comic business has become an important business department and income source of famous Japanese publishing houses. Founded in 1922, the Academy is the largest comprehensive publishing house in Japan, with an average annual sales of160 billion yen, accounting for 8% of the total sales of Japanese publishing industry, ranking the top three. Since the magazine Youth Sunday was founded on 1959, children's comics, girls' comics and youth/adult comics have been published one after another, reaching 19, and the annual sales volume of comics is as high as 65438+ billion, of which Doraemon, detective Conan and disorderly horse are 65438.

The developed cartoon graphic publishing industry not only cultivated consumer groups for the whole Japanese animation industry, but also played an important role in discovering and cultivating professionals. In Japan, the growth process of a cartoonist is generally like this: free creation or entering the studio of a well-known cartoonist to accumulate experience in low-level work, then contributing to comic magazines or participating in various comic competitions to publish serialized works in comic magazines, and getting further training and guidance from the editors of the publishing house in the process of serialization, and then growing into a real cartoonist. The key for publishing houses to play such an important role in talent exploration and training lies in providing a low-threshold channel for young creators, giving creative copyright value and cultivating copyright value according to market reaction.

5. Benefit and risk sharing mechanism of making TV cartoons.

As mentioned above, the link of TV cartoons plays an important role in enhancing the copyright value in the industrial chain, but the high cost and long cost recovery cycle also greatly increase the risk. In Japan today, the average production cost of TV cartoons is 500,000 yen/minute. Based on an average of 22 minutes per episode, the average cost of an animation episode is11000000 yen, while the purchase price of a TV station can only achieve 60%-70% of the cost recovery at most: the purchase price of an episode broadcast at prime time from 7 pm to 8 pm is only 8 million yen, which is the highest price. The cost recovery of other parts depends on developing derivative products and selling them to overseas markets.

If such a high risk is borne by the animation company alone, it is definitely not conducive to the development of the industry. In Japan, we have seen the risk-taking mechanism of animation companies, derivative products developers and TV stations.

Derivatives developers share risks by intervening in advance. From the traditional animation industry chain model, derivative product developers only get involved in the industry chain after the copyright value is improved, that is, after the TV cartoons are broadcast. However, in practice, developers of derivative products often step in ahead of time, advance the expenses of derivative product development authorization before the copyright value is enhanced, and even become one of the investors in making TV cartoons. This way of early intervention enables the derivative product developers to obtain the development authorization at a lower price, and also helps the TV animation producers to share the risks. In recent years, in the Japanese animation industry, it is not uncommon for derivative product developers to directly develop original products and act as the front end of the industrial chain.

The mechanism of Japanese TV stations playing cartoons also fully meets the needs of the entire industrial chain. Unlike China's usual daily episode, Japanese TV stations usually broadcast cartoons once a week. The broadcast cycle of a work is usually 52 episodes a year, and TV stations usually sign broadcast contracts with production companies from 26 episodes. This broadcast mode has two main advantages: the first advantage is to give TV stations and production companies room to adjust according to market reactions. The broadcast time of an animated cartoon is dynamically adjusted by the TV station. A work whose market reaction is lower than expected may be adjusted to a worse time, even if the contract for half a year is not renewed, and a work gradually accepted by the market may also be adjusted to a better time. Production companies generally adopt the method of shooting while broadcasting, and the basic unit is 13 episodes, that is, one season, so that production companies can dynamically adjust their production policies according to market reaction and demand. Another advantage is to increase the market influence and the market value and life of derivative products by extending the broadcast period of the works. As mentioned above, the development of derivative products is an important way to recover the cost and realize the profit of TV animation. In this sense, TV animation can be said to be an advertisement for a derivative product, and the effect difference between one year and two months is self-evident.

6. The development of Japanese animation industry is facing bottlenecks.

After more than 50 years of development, the Japanese animation industry has reached a bottleneck at the same time of high development. This bottleneck is manifested in two aspects: excess production power and convergence of original themes. In other words, today's Japanese animation industry needs to go out and introduce.

Faced with excessive competition in the domestic market, Japanese animation companies have focused on exploring overseas markets. For example, 79% of the existing business of Japanese toy development giant Bandai comes from the local market, and its future goal is to increase the share of overseas markets in the company's business to 50%.

In the process of exploring overseas markets, Japanese enterprises can't enter China with closer cultural background and greater market potential due to policy barriers, but they have made greater achievements in European and American markets. Take EMI as an example. Among the overseas market businesses that currently account for 265,438+0% of the company's total, the United States accounts for 65,438+00%, Europe accounts for 8%, and Asia only accounts for 3%. The same is true of the information we learned from the Japanese Animation Association (AJA). Many AJA member companies have tried to cooperate with China, but so far there is no successful case. The reasons for the failure are not only the high policy wall, but also the constant friction between China and China due to their different understanding of the animation industry, and the imperfect protection of intellectual property rights in, which leads to the proliferation of piracy.

Although the Japanese animation market is fiercely competitive, it is not without space. The broadcast of the first Korean cartoon in Japan last year strongly shows that the Japanese market is open and welcomes fresh ideas and themes from overseas. China's traditional culture has always been connected with Japanese culture. If it can be expressed in modern animation language, it is not impossible for themes and works from China to enter the Japanese market.

Compared with Japanese animation industry, China animation industry faces the present situation and disadvantages.

1. Incomplete industrial chain

At present, China's animation industry is mostly in the periphery of the animation industry chain, mainly processing and production. These animation production companies and toy factories are still engaged in order-taking and labor-intensive work, and do not generate copyright value, so they can neither get high economic returns nor really promote the development of animation industry in China.

Local original attempts often do not respect the law of industrial development and artificially cut off the industrial chain. Domestic originality often skips the link of printing and publishing cartoons and directly cuts into the production of TV cartoons. The work has no market foundation, and it can't aim at the real demand of the market, which leads to poor market responsiveness, lower copyright value and no derivative development.

2. The mechanism of discovering and cultivating talents is not perfect.

With the increasing emphasis on the animation industry in China, many colleges and universities across the country have set up animation majors, which will certainly provide talent resources for the development of China's animation industry, but it is far from enough to rely solely on educational institutions to explore and cultivate talents.

As mentioned above, from the experience of Japanese animation industry development, cartoonists are not trained by schools, and comic magazines play an indispensable role in discovering and cultivating talents. On the other hand, in China, comic magazines have not played their due role in this respect, and most of them are poorly managed. To sum up, there are three reasons:

1) The editing level is relatively low.

In Japan, the core competitiveness of a successful comic magazine is editing ability. A good editor not only has an eye for finding outstanding talents and works, but also gives valuable suggestions to comic writers based on his rich professional experience, thus promoting the growth of a young comic writer and turning an excellent but immature idea into a work with good market response. And an excellent comic editor is not cultivated by the school, but "passing, helping and bringing" by the master and the apprentice. It has been more than 100 years since the establishment of Japan Xinchao Society. Japan's oldest publishing house only started to set foot in comic book publishing five years ago, and now the income from comic book business has accounted for 65,438+00% of the total income of the Institute. It is inseparable from the senior comic editor they hired from other publishing houses five years ago to get good results in the comic industry so quickly. It can be seen that the experience and level of editors are crucial to the success of a comic magazine.

2) Poor distribution channels lead to increased costs.

3) Lack of financial strength

3. The production of TV cartoons has high risks and low returns.

Different from the Japanese mechanism of making TV cartoons while broadcasting, according to the regulations of the State Administration of Radio, Film and Television, all cartoons must be made in China before they can be submitted to the State Administration of Radio, Film and Television for approval and application for broadcasting license. In other words, an animation can not be broadcast until it is finished, resulting in all risks being borne by the animator alone.

Domestic TV stations buy cartoons at a lower price. Even the highest-priced CCTV and SMG buy domestic cartoons at a price below 3,000 yuan/episode, and the purchase price of county-level TV stations is even lower than 1000 flash to pretend to be cartoons, which reduces the cost.

4. Weak protection of intellectual property rights

In the contact with Japanese animation companies, we know that although the Japanese animation industry is drooling over the China market, it is often discouraged by rampant piracy. Piracy can be said to be fatal to the animation industry with copyright value as its core. When the core of the industrial chain loses value, the industrial chain naturally ceases to exist.

The prospect of Japanese animation industry is bleak.

Japanese comics have been ridiculed as a novel culture, which can only attract western children and comic book fans. But in recent years, the animation market has found a wider audience and become one of the most valuable export products in Japan. According to the statistics of Japan's Ministry of Economy, Trade and Industry, the sales of Japanese comics in the United States in 2002 reached US$ 4.36 billion, which was more than three times the value of steel products imported by Japan from the United States.

However, just as the animation industry seems to have entered a golden age, Japanese animators, government officials and analysts warn that the long-term prospects of the industry are bleak. Because of low wages and poor working conditions, young people in Japan are no longer willing to engage in animation work. At the same time, with the surge of animation demand, people are worried about the decline of production quality.

If an animated film is very popular, the profits will be shared by the production committee that invested in making the film, including TV stations, advertising companies and other institutions, and the studio that created the film is often excluded from the committee.

"Besides, the biggest structural problem of Japanese animation industry is that the same company doesn't make animation or invest in animation," said Mr. Suzuki of Studio Ghibli. "Studio Ghibli's success is mainly due to our own investment in production, and we don't give up any rights of these self-created works," he said. However, many smaller production companies either do not have the financial resources to make such investments or have no independent financing channels. As a result, as an official of the Media and Content Industry Bureau of Japan's Ministry of Economy, Trade and Industry said, "Animation workers have difficulties in economic survival. This has become a big problem. "

Another trend has intensified people's worries about the Japanese animation industry: this highly labor-intensive job is flowing to low-cost Asian countries, such as China and the Philippines. It is estimated that 70% of Japan's animation production business flows to other parts of Asia, and some people warn that Japan's animation industry is being hollowed out.

Now, the Japanese government has taken countermeasures to help animation creators get decent remuneration. Private investors have also emerged, enabling animation companies to raise funds on their own.

Teenagers like Japanese animation. The animation industry in Beijing has slowed down several times.

As soon as I entered the exhibition gate, I saw a row of faceless cartoon characters standing on the cardboard. From time to time, boys and girls excitedly walked over to "borrow" their youthful faces, and the camera next to them "clicked" ... This was a scene that the reporter saw at the seventh Beijing Animation Conference yesterday. The conference began on July 29th and lasted for four days.

■ Teenagers: Like Japanese anime.

At the conference site of the Agricultural Exhibition Hall, the reporter met a sophomore girl surnamed Yang, majoring in English, and especially liked the national Cosplay star home show in the animation conference. The reporter found that the star show attracted many teenagers, but the anime works selected by the organizers were not made in China, but Japanese works such as Naruto, Fruit Basket and Inuyasha. During the interview, most young people who participated in the animation club expressed their love for Japanese animation works. Yang said that Japanese animation works attracted her in story and style. Another high school girl surnamed Liu agrees with her, saying that Japanese anime works are "well drawn and beautiful in plot".

■ Organizer: The development of animation industry in Beijing lags behind.

The seventh animation conference was bustling and lively, but this did not cheer up Ms. Yan Baohua, the editor-in-chief of Beijing Cartoon, the representative of the organizer. As the cultural center of China, the development of animation industry in Beijing is slower than that in Shanghai, Guangzhou and Changsha. Having witnessed the development of animation in China for ten years, she was very worried.

Not long ago, the General Administration of Press and Publication decided to build online game animation industry development bases in Beijing, Shanghai, Guangzhou and Chengdu, and based on the industrial bases, it will radiate the surrounding areas, promote the development of regional industries, promote personnel training, technological innovation and product development, and make China's online game publishing industry bigger and stronger. However, in recent years, the development of Beijing animation industry is not significant.

Compared with Europe, America and Japan, the development of animation industry in China is far behind. In 2004, the global game and animation industry related derivatives output value exceeded 500 billion US dollars. It is understood that the annual output value of British digital entertainment industry accounts for 7.9% of GDP, which is the largest industry in the country. This year, the global box office and DVD revenue of Japanese animation will reach $5.2 billion. It is reported that the export volume of Japanese animation products is much higher than that of steel. According to the prediction of China Animation Association, the total output value of animation industry in China in 2004 was only1.1.700 million yuan. In 2005, the output value of animation industry in China is estimated to be 654.38+0.8 billion yuan.

■ Appeal: Policy support is very important

Insiders pointed out that the underdevelopment of China's animation industry is mainly reflected in four aspects: lack of originality, failure to promote it as mass art to public life, and animation is only a "niche" art; Social consciousness has a great influence, not only has animation been regarded as an educational tool, but also limited to creating for teenagers; Piracy seriously affects creative enthusiasm; The competition mechanism is not perfect, and the market has great ability. To sum up in one sentence, China's animation industry is "first-class painting skills, second-rate story writing, and third-rate action ability." Based on this, from the "China Original Animation Industry Development Seminar" held on July 29th, the reporter learned that Beijing Press and Publication Bureau is taking the lead in discussing with Beijing Radio, Film and Television Bureau "Beijing Animation and Game Industry Base Construction Plan (2005-2008)".

Yan Baohua hopes that Beijing can play a leading and exemplary role in the animation industry in China. To do this, the support of the government is indispensable. It is understood that there is a serious shortage of animation talents in China. Last year, some media reported that "there are 654.38+0.5 billion animation talents in China". To reverse this situation, government departments should give support in animation industry policies, funds and personnel training.

Japanese animation industry: export exceeds steel animation and penetrates the world.

During the Golden Week in May, cinemas in Tokyo, large and small, were busy: the wall of Hibiya cinema was replaced with the advertisement of the new American blockbuster Brad 3, while some small cinemas near the supermarket attracted many primary school students with the plot on the horizontal line (the latest episode of the comic book Detective Conan series).

On the light rail leading to the city center, most passengers are watching something, among which cartoons are the most, except for texting. The comics in the station newsstand are divided by gender and age, and people can always find the comics that suit them best.

Known as the "animation kingdom", Japan is the largest animation producer and exporter in the world. At present, more than 60% of the animation works played in the world are from Japan, and the proportion in Europe is even higher, reaching more than 80%. Among all kinds of cultural industries in Japan, all kinds of animation programs broadcast by cinemas and TV stations are particularly eye-catching. All kinds of anime characters are flooding the streets, which have already gone beyond the category of magazines and TV and penetrated into every corner of Japanese society.

Seeing that Hollywood movies can penetrate more and more widely in the world than American-made products, Japan has begun to pursue its position in international culture, and animation is favored by the Japanese government.

Animation industry provides new highlights for Japan's economic development

Japanese people love comics very much, and comic culture is very developed. According to a survey conducted by Mitsubishi Research Institute of Japan, 87% people in Japan like comics, and 84% people have articles related to comic characters. There are more than 430 animation production companies in Japan, with a group of top international cartoon masters and animation directors, as well as a large number of animators working hard in the front line. The popularization and development of TV and online media and the continuous improvement of communication means have laid a good foundation for the development and growth of Japanese animation market, making Japanese animation works more and more influential in the cultural market and popular all over the world.

Today, Miyazaki Hayao, the most famous Japanese anime writer, has created a series of classic works such as Valley of the Wind, City of the Sky, Princess Ghost with his extraordinary talent. The box office record created by Princess Ghost far exceeds that of the American film E.T. The soundtrack CD also set a new record in the history of CD release. Nowadays, in Japan, the box office revenue of cartoons accounts for more than one third of the total box office revenue of Japanese film industry, and the number of cartoons in Japanese export films also greatly exceeds the number of general films.

At present, the annual turnover of Japanese animation industry has reached 230 trillion yen, making it the third largest industry in Japan, and the animation industry in a broad sense has accounted for more than ten percentage points of Japan's GDP. According to the data released by the Japan External Trade Organization, the total income of Japanese animation and related products sold to the United States in 2003 was 4.359 billion US dollars, four times that of Japanese steel exported to the United States. Comics, animations, books, audio-visual products and licensed peripheral products have formed a set of "industrial chains" in Japan, which have promoted the development of Japan's economy. Aoki Masahiko, a famous new institutional economist, believes that Japan is in another major historical turning point since the Meiji Restoration. As a result, a series of profitable industries such as animation and entertainment appeared in Japan, surpassing the automobile industry.

In recent years, the world has paid more and more attention to the rise of Japanese cultural industry. Time magazine once published a cover article saying that Japan is changing from a big country in product manufacturing to a big country in cultural industry export. While other economies in the world have widely applied computer technology to the communication industry, Japan has applied it to the manufacture of new cultural products. This spillover trend has been recognized and sought after by Japanese society. Aoki Masahiko believes that Japan is trying a gradual economic transformation with the help of the rise of emerging cultural industries.

Animation brings three business opportunities.

For a long time, Japan has mainly explored and developed the animation industry and animation-related markets from the following three aspects.

The first is to create an animation broadcast market. According to the survey data released by relevant parties in Japan, in 2004, about 8/kloc-0 animated films were shown in Japanese cinemas, and Japanese TV stations broadcast more than 80 animated programs every week, with nearly 4,000 animated works a year.

According to the survey data recently released by Japan Digital Content Association, in 2003 (from April 2003 to March 2004), the sales of Japanese animation market (the total operating income of animated film box office, animated film, animated TV video tape and special TV channel) reached 373.9 billion yen, an increase of 65.438+0604 billion yen compared with 265.438+0604 billion yen in 2002. The income of the Japanese film industry in the same year was only over 200 billion yen.

Secondly, actively create the market of animation derivative products, vigorously carry out the secondary development and utilization of animation works, and enhance the added value of animation works. Characters, stationery, toys, game software and clothing derived from cartoons have formed a huge "animation industry chain" around the world. The animated TV series "Mech Warrior" is an example. About 65,438+05% to 65,438+07% of the total annual sales of Japan's largest toy manufacturer is the sales revenue of robot toys.

According to the survey of Japan External Trade Organization, the domestic animation related market has exceeded 2 trillion yen. The development of animation promotes the development of music, publishing, advertising, theme parks and tourism, and constantly creates new business opportunities.

Third, vigorously explore overseas markets and speed up Japanese animated films to the world. Japanese animators attach great importance to exploring overseas markets. Eight months after the first animated TV series Astro Boy was broadcast on 1963, Japan exported to the North American market. Since 1970s, Japanese animators have turned their eyes to Asian countries. Japanese cartoons such as Smart Rest and Robot Cat are household names in China. In the late 1970s, the Japanese anime film Gundam Warrior began to be broadcast on French television and successfully landed in the European market. From then on, Japanese animated films began to dominate the world animation market. Some have even been exported to more than 70 countries for broadcasting.

The government vigorously supports the animation industry.

In order to expand the international sales of animated films and accelerate and improve the spread and influence of Japanese culture overseas, the Japanese government and the Tokyo Metropolitan Government are implementing policies to support and foster the Japanese animation industry. Japanese government regards animation not only as an important export industry, but also as an independent culture.