The Palgrave Handbook of Music and Sound in Japanese Animation (Palgrave Studies in Sound)

This handbook fills a substantial gap in the international academic literature on animation at large, on music studies, and on the aural dimensions of Japanese animation more specifically. It offers a unique contribution at the intersection between music and popular culture studies on the one hand, and research on Japanese animated productions (often called ‘anime’) as popular art forms and formats of entertainment, on the other. The book is designed as a reference work consisting of an organic sequence of theory-grounded essays on the development of music, sounds, and voices in Japanese animation for cinema and television since the 1930s. Each chapter deals with a phase of this history, focusing on composers and performers, films, series, and genres used in the soundtracks for animations made in Japan. The chapters also offer valuable interviews with prominent figures of music in Japanese animation, as well as chapter boxes clarifying specific aspects. About This Book Praise for The Palgrave Handbook of Music and Sound in Japanese Animation Contents Foreword Birth and Structure of the Handbook Origin and Reasons of This Handbook Structure, Progression, and Themes of the Handbook Acknowledgements Editorial Note Introduction Tool Kits / 0: Presenting Japanese Animation and a Summary of Selected Sources on Music and Animation 1. Defining Japanese Animations 2. A Quick History of Animation in Japan 3. Anime as an Industry 4. Anime as a Media Genre: Techniques, Aesthetics, and Semiotics 5. Exporting Anime Overseas: Foreign Adaptations and Anime’s Properties 6. A Cursory Summary of Some Essential Sources on Music and Animation Bibliography List of Figures List of Tables Part I Early History, Theoretical Framing, and Practice of Music and Sound in Japanese Animation 1 Tool Kits / 1: Hearing Moods, Emotions, Pictures. A Basic Overview on the Rhetoric of Music 1. Introduction 2. The Baroque Affections and Their Consequences: A Very Short History 3. A Minimal Vocabulary About Music and Emotions Bibliography 2 Tool Kits / 2: Key Concepts of Music Language in Anime 1. Introduction 2. Music Cue and Music Piece 3. Music Listening Levels 4. Forms of Musical Diegesis 5. Music Provenance. Original, Pre-existing, and Adapted 6. Types of Music 7. Forms of Music-Image Relationship 8. Forms of Music-Image Interaction 9. Melodies, Motif, Theme, and Leitmotiv 10. Rhythm and Types of Synchronies 11. Harmony, Timbre, Instrumentation 12. Musical Forms and Styles 13. Conclusion Bibliography 3 Tool Kits / 3: A Short Outlook of Anison from 1963 to the 21st Century 1. Introduction 2. 1963–1971. The Dawn, or the Age of Commercial Songs 3. 1972–1979. The Formative Years: From Tv Manga Songs to Anime Songs 3.1 The Role of Producers for the Boom of the Anime Song Business 3.2 Uchū senkan Yamato and Its Symphonic Suite 4. 1980–1990. The Development Years: From Anime Songs to Anison 4.1 The Four Key Companies 4.2 Karaoke with Anison 5. 1990–2000. The Maturity Years: The Whereabouts of Scattered Anison 6. Conclusion. Anison of the 21st Century Bibliography 4 Tool Kits / 4: Mapping Anime’s Voice Acting Industry 1. Introduction 2. What is Seiyū, What is Voice Acting 2.1 Voice Acting as a Specialisation in Acting 2.2 One Seiyū, Different Voices for Different Characters 2.3 A System of Training for Immediate Success 3. The History of Voice Acting in Japan 3.1 The Beginnings (from the 1920s to the 1960s) 3.1.1 The Origins of Seiyū 3.1.2 The Practice of Having a Particular Voice Actor Dubbing Foreign Films’ Actors 3.1.3 Voice Acting Is a Second Job 3.2 Developmental Period (from the 1970s to the 1990s) 3.2.1 The Rise of the Youth Fan 3.2.2 A Mechanism for Encouraging Anime Fans to Connect with Each Other 3.2.3 The Beginning of a Radio Show with Seiyū 3.3 The Maturity Period (from the 1990s to Present Day) 3.3.1 Promoting Seiyū’s Activities 3.3.2 Seiyū as Singers 3.3.3 The Variety of Voice Actors’ Activities Brought About by the Media Mix 3.3.4 Diversification of Voice Work 4. Conclusion Bibliography 5 Early History / 1: Introducing European Music to Meiji Japan 1. Introduction 2. Outset of European Music 3. Yearning for Sounds of Civilisation 4. Link with Self-Cultivationism 5. European and American Art Music as Cultural Codes Bibliography 6 Early History / 2: The Early Period of Music in Japanese Animation. From the 1930s to the Advent of Tōei Dōga (1956) 1. Introduction 2. Tōkī manga 3. The Aesthetics of Mickeymousing 4. Animation Music and What Is “Japanesque” 5. Conclusion Bibliography 7 Early History / 3: Shifting Practice, Industry, and Ideology in the First Decade of Tv Anime Songs (1962–1972). From Torirō Miki to Michiaki Watanabe 1. Introduction 2. Tetsuwan Atom without Lyrics 3. Anime Theme Songs and/as Commercial Jingles 4. Flexi vs Vinyl 5. Jungle taitei 6. Obake no Q-Tarō 7. From Hakaba Kitarō to Gegege no Kitarō: A Fictional Manga Theme Song Turned into Reality 8. The Intended Outdatedness in the Late 1960s Counterculture 9. Anime Songs and the Newly Established Mainstream Popular Song Styles 10. The Invention of the “Chūmei-bushi” 11. Conclusion Bibliography Part II Music and Sound for Animation in Japan from the 1970s to the 2010s 8 Scoring Japan’s Pasts and Futures / 1: Legends, Folklore, Monsters, and Historical Drama 1. Introduction 2. Past Made Present: yōkai 2.1 Gegege no Kitarō and yōkai shōnen 2.2 Rumiko Takahashi and Inuyasha 2.3 Sen to Chihiro no kamikakushi 3. Present Made Past: Jidaigeki 3.1 Shōnen ninja Kaze no Fujimaru 3.2 Sabu to Ichi torimono hikae 3.3 Gendered Pasts: Spirited Females and Gender Fluidity at the Turn of the Century 4. Conclusions Bibliography 9 Scoring Japan’s Pasts and Futures / 2: Drama, Trauma, and Sonic Eclecticism in Mainstream Music Scores for Giant Armour-Themed and Sf Animated Series of the 1970s 1. Introduction 2. Addressing Trauma and War via Animation in Japan in the 1970s–1980s: Before, with, and beyond Science Fiction Anime 2.1 The Broader Context 2.2 Emerging Tropes on War and Destruction in Japanese Animation in the 1970s–1980s 2.3 Pika-don (1978) 2.4 Hadashi no Gen and Hadashi no Gen 2 (1983, 1986) 2.5 Quick Final Remark 3. Drama and War in Sf Anime in the 1970s–1980s as an Underlayer to Their Soundscapes 4. The Role of Music: Drama, Trauma, and Sonic Eclecticism 5. Mimetism, Syncretism, Machinism, Synaesthesia: A Puzzle of Styles 5.1 Enka and The Internationale, or Something like It, in Sf Anime Songs 5.2 The Perfect Sonic Clashes of the Citationist Obsession in Sf Anime 5.2.1 Fade-Out / Fade-In between Mimetism and Syncretism in Anison 5.2.2 The Citationist Obsession 5.2.3 Synaesthesia, Audiochromo-Pathos, and Machinism 6. The Music Scores for Leiji Matsumoto’s Main Science Fiction Anime 6.1 Uchū senkan Yamato 6.2 Uchū kaizoku Captain Harlock 7. Concluding Remarks Bibliography 10 Scoring Japan’s Pasts and Futures / 3: The Soundtrack of Shunsuke Kikuchi for Ufo Robo Grendizer. Composition and Selection Criteria 1. Introduction 2. A Particular Musical Conception? 3. Shunsuke Kikuchi or the “Simple” but Effective Composition 4. Shigeru Miyashita, or the Fundamental Role of the Senkyōkuka 5. Conclusion Bibliography 11 Transcultural Musical Encounters / 1: Jō Hisaishi and Yūji Nomi. Variation, Citation, and Emulation 1. Introduction 2. European Classical Music in Japan 3. Neoclassicism and Japanese Animation: Yūji Nomi 4. The Wind Has Changed: Motivic Variation Strategies in Jō Hisaishi’s Music for Hayao Miyazaki’s Kaze tachinu 5. Conclusion Bibliography 12 Transcultural Musical Encounters / 2: A Cultural History of Dvořák’s Largo from Meiji Era to Anime 1. Introduction 2. Dvořák and the “New World Symphony” in the United States 3. The “New World Symphony” and Goin’ Home in Japan 4. The Japanese Furusato 5. The Largo in Japan’s Daily Life 6. The Largo in Anime: Conventional Approaches 7. The Largo in Anime: Unconventional Approaches 7.1 Cross Ange∼Tenshi to Ryū no Rondo 7.2 Mawaru Penguindrum 7.3 Shin Sekai Yori 8. Conclusion Bibliography 13 Transcultural Musical Encounters / 3: Kōji Morimoto, Yōko Kanno, and the Zagreb School of Animation’s Legacy 1. Introduction 2. Science fiction in Anime and the Morimoto-Kanno Collaboration 3. Kōji Morimoto: The Music in Onkyo Seimeitai Noiseman 4. Dušan Vukotić’s Dobro došli na planet Zemlja 5. Distant Music Cultures in Comparison 5.1 Onkyo Seimeitai Noiseman and Dobro došli na planet Zemlja 6. “Trees Make Seeds” vs Matilda’s Dance 7. Conclusion Bibliography 14 Transcultural Musical Encounters / 4: The Power of Alternative Music in Japanese Animation. Can the Beats and Vibes of Anime Change the World? 1. Introduction 2. Macross: When Love Ended a Space War through Music 3. Anarchy and Euphory in the Sonic Vibes of Akira 4. Eureka Seven, or the Quasi-Utopia of Music Subcultures as Agents of a Global Change 5. Conclusion Bibliography 15 Authorship in Music and Sound Design / 1: Isao Takahata and His Music Direction 1. Introduction 2. Films for Tōei Dōga 2.1 Wanpaku ōji no orochi taiji (1963) 2.2 Taiyō no ōji: Horusu no daibōken (1968) 3. Between the Studios 3.1 Panda Kopanda (1972) 3.2 Alps no shōjo Heidi (1974) 3.3 Haha o tazunete sanzenri (1976) 3.4 Serohiki no Gōshu (1982) 4. Films for Studio Ghibli 4.1 Hotaru no haka (1988) 4.2 Omoide poro poro (1991) 4.3 Heisei tanuki gassen ponpoko (1994) 4.4 Hōhokekyo tonari no Yamada-kun (1999) 4.5 Kaguya-hime no monogatari (2013) 5. Concluding Remark Bibliography 16 Authorship in Music and Sound Design / 2: Geinō Yamashirogumi and Akira 1. Introduction 2. Katsuhiro Ōtomo’s Work as a Manga Artist 3. Akira’s Narrative World and Continuous Relevance 4. The Start of the “Akira Studio” 5. History of Yamashirogumi and Establishment of Its Musical Style 6. Ōtomo’s Thoughts on Animation Film Music 7. The Choice to Involve Yamashirogumi 8. Shōji Yamashiro’s Music Production Process 9. Yamashiro’s Meticulous Attitude towards Music and Sound 10. The Fusion of Visuals and Music 11. Synergy between the Visuals and the Music and Its Characteristics 11.1 Kaneda 11.2 Battle against the Clowns 11.3 The Underlying Ideology of the Resonance between Story and Music 12. Issues Concerning Anime Films and Music 13. Conclusion Bibliography 17 Authorship in Music and Sound Design / 3: The Music and Method of Kenji Kawai 1. Introduction 2. The “Kawai Sound” 3. Analysis of Two Musical Pieces of Kenji Kawai’s 4. Relationship between Animated Works and Music 5. Kenji Kawai as a Composer 5.1 Release of Soundtracks 5.2 Liner Notes by Kawai 5.3 Close Communication with the Director 6. Conclusion Bibliography 18 Authorship in Music and Sound Design / 4: Kōji Yamamura and Satoshi Kon 1. Introduction: The Sound of Japan 2. Kōji Yamamura’s Atama Yama: Animating a Rakugo Tale 3. Doubling the Mind: Kyōgen Narration in Kafuka: Inaka Isha 4. Buddhist Reincarnation in Sennen Joyū 5. Conclusion Bibliography 19 Authorship in Music and Sound Design / 5: Tenmon and His Music for Makoto Shinkai’s Films 1. Introduction. Tenmon and Three Paradigms of Animation Soundtracks 2. The Syncretism Paradigm: Escape from Anonymity 3. The “Music-Turned-Into-a-Character” Paradigm: Intricate Tensions 4. The Cinematic Paradigm: Achieving Universalism, Transcending Japaneseness 5. Conclusion: After Tenmon Bibliography 20 Authorship in Music and Sound Design / 6: Four Outstanding Cases in the Anime Industry, 1995–2016 1. Introduction 2. Director Shin’ichirō Watanabe and Composer Yōko Kanno 2.1 Cowboy Bebop 2.2 Samurai Champloo 3. Director Kunihiko Ikuhara and Composers Yukari Hashimoto, Shinkichi Mitsumune, and J. A. Seazar 3.1 Shōjo kakumei Utena 3.2 Sarazanmai, Mawaru Penguindrum, Yurikuma Arashi 4. Director Hideaki Anno, Composer Shirō Sagisu, and Neon Genesis Evangelion 5. Sayo Yamamoto’s Anime and Composers Alexandre Kassin, Naruyoshi Kikuchi, Taku Matsushiba, and Tarō Umebayashi 6. Conclusions Bibliography 21 Extra-Musical Sonic Environments / 1: Voice Actresses Performing Boy Characters. Historical, Political, Social, and Cultural Significance in Postwar Japan 1. Introduction 2. Similarities and Differences between Pinocchio (1940) and Tetsuwan Atom (1963–1966) 3. A Longstanding but Unresearched Tradition in Anime Production 4. Serial Radio Drama as Means of Democratisation in the US Occupation Years 4.1 Promotion of Serial Radio Dramas 4.2 Protection of Children in a Democratic Society: Child Actors in Kane no naru oka 4.3 Regulation of Child Labour by the Labour Standards Act 5. Kikuko Kinoshita: A Pioneer in Playing Children in Serial Radio Dramas 5.1 Methods for Voice-Acting Children 5.2 Synchronising with Others: The Advent of Tv Live Broadcast 5.3 Voice Actresses in the Dubbing for Foreign Tv Dramas 6. Conclusion: Essential and Unique Factors of Serialised Tv Anime Production Bibliography 22 Extra-Musical Sonic Environments / 2: Sonic Embedment and Spatial “Worlding”. Soundscapes, Psychoacoustics, and Post-Human Sonics in Shinseiki Evangelion 1. Prologue: Sonically Embedded in the Past 2. Sonically Embedded in the Future 3. Sonically Embedded in War 4. Sonically Embedded in the Post-Human Cerebrum 5. Sonically Embedded in Sekai-kei 6. Sonically Embedded in the Alien 7. Epilogue: Sonically Embedded in the Moving Image Bibliography Part III Musics, Songs, and Voices for Japanese Animation beyond Japan 23 Re-written Songs, Musics, and Dubbing for Anime / 1: United States 1. Introduction. Changing Times: Trends in Re-soundtracking and Re-dubbing Japanese Animation for the American Market 2. Entering the United States. From the De-Asianisation of Anime’s Japanese Origin to the Thrill of the Extreme and the Exotic 3. Dubbing Standards. What Characterises a “Good” Effort? 4. Authenticity above All. The Divisiveness of Dubbing against a Backdrop of Consumer Choice 5. Parity and Disparity. Creative Steps in the Alignment of Japanese and US Versions 6. From Re-dubbing to Re-singing. Music’s Role in a Digital Age 7. Conclusion Bibliography 24 Re-written Songs, Musics, and Dubbing for Anime / 2: Italy 1. Introduction 2. Lyrics 2.1 Narrative Motifs 2.2 Rhetorics and Narratological Clues 3. Musical Strategies 4. Presentation of the Heroes and/or the Story 5. Conclusion Bibliography 25 Re-written Songs, Musics, and Dubbing for Anime / 3: Philippines 1. Introduction 2. Same Melody, Different Meanings 3. Fan-Made Covers, TikTok Trends, and YouTube Stars 4. Conclusion Bibliography 26 Re-written Songs, Musics, and Dubbing for Anime / 4: Indonesia 1. Introduction 2. Television in Indonesia and the Local Broadcasting Culture 3. The Labour behind Dubbed Anime and Their Songs 4. Anime’s Readapted Dialogues and Music 4.1 Anime’s Monotonous Dialogues 4.2 Popularity of the Translated Song Lyrics 5. Conclusion. A “Resistance” Within Anime’s Dialogues and Songs Bibliography 27 Re-written Songs, Musics, and Dubbing for Anime / 5: Latin America 1. Introduction 2. The Dubbing Route 3. The Anime Voices 4. Two Very Familiar Voices 4.1 Juan Guillermo “Capitán Memo” Aguirre 4.2 Ricardo Silva Elizondo 5. The Lost Voices Bibliography 28 Re-written Songs, Musics, and Dubbing for Anime / 6: Four Outstanding Cases in Europe and the United States 1. Heidi’s Soundtracks between Japan, Germany, and Italy 1.1 Introduction: Heidi’s Arrival in Europe and Italy 1.2 Heidi’s Theme Song in Italy 1.3 The Background Music of Heidi in Japan and Europe 2. Atlas Ufo Robot. The Italian-Made Music Album That Redesigned the Emotional Soundscape of Ufo Robo Grendizer in 1978–1979 2.1 Introduction 2.2 The Nine Tracks of the lp Atlas Ufo Robot and the Track “Shooting Star” 2.3 Creating a Different Narrational Rhetoric via a New Aurality 3. Albator. The Sonic Journey of Uchū kaizoku Captain Harlock in France 3.1 Introduction 3.2 The Role of Music in Uchū kaizoku Captain Harlock 3.3 Simplifying Harlock to Albator 3.4 Defining Albator as a Space Opera 3.5 Final Remarks 4. Macross and Robotech: An Aural Localisation Case Study 4.1 Introduction 4.2 Macross and Robotech: The Main Changes 4.3 Closer Analysis 4.4 Lin Minmei / Lynn Minmay 4.5 Evaluating Robotech Bibliography 29 Re-written Songs, Musics and Dubbing for Anime / 7: Finland 1. Introduction 2. Scoring the Moomins: Sei’ichirō Uno and Sumio Shiratori 3. Theme Songs 4. From Ballad to Happy Children’s Song: The Localisation of Tanoshii Mūmin ikka 5. Diegetic Music in Moomin Adaptations 6. Voice Acting in Different Moomin Adaptations and Localisations 7. Conclusion Bibliography 30 Re-written Songs, Music, and Dubbing for Anime / 8: Cultural Strategies of Anime’s Re-dubbing in Italy, France, Germany, and Spain 1. Introduction 2. On Voice Acting in Japan: The Seiyū 3. Before Dubbing: Translation and Adaptation 4. The Impossible Adaptation 4.1 Word Puns and Goroawase 4.2 Honorific Suffixes 4.3 Always Being Someone Else’s Senpai or Kōhai 4.4 The Many Japanese Linguistic Registers 4.5 Gender: Inextricable or Indefinite 5. The Arbitrary Adaptation 5.1 Removal of Violence 5.2 Denial of Sexuality 5.3 Localisation of Exotic Settings 6. Dubbing Anime in Europe 6.1 Dubs Influenced by Production Contingencies 6.2 Many Voices for a Character, Few Voices for Many Characters 7. Cultural Differences, Sound Differences 7.1 Child Characters: Who Is Going to Voice-Act Them? 7.2 Different Cultural Models, Different Interpretation Emphasis: Kawaii Characters 8. Conclusions Bibliography 31 Anime’s Impact on Pop Music in the Two European Leading Markets / 1: France 1. Introduction 2. Daft Punk and Leiji Matsumoto: Artistic Legitimisation through Homage 2.1 “The anime of our childhood”: First Period of Anime Fans in France 2.2 French/Japanese Collaboration: A Tribute to Anime Culture 3. Rap and Anime Culture: Anime Culture in the Everyday Life 3.1 The Success of French Rap 3.2 Rap and Anime, Two Subcultures in France 3.3 Anime References in Rap, a Matter of Generations 3.4 Telling Stories through Anime References: The Example of Orelsan 4. A “Pop Acculturation”? 4.1 The Spread of Anime and Manga Culture as a Globalised Process of Acculturation 4.2 Pop Acculturation and Cultural Studies 5. Conclusion Bibliography 32 Anime’s Impact on Pop Music in the Two European Leading Markets / 2: Italy 1. Introduction 2. The Children of the Dragon’s Music 2.1 Anime as Reservoir of Values ​​for the Goldrake-Generation 2.2 Not Only Moral Values: Covers, Quotes, and Parodies 3. The Children of the Dazzle’s Music 3.1 Coolness, Shōnen, and Rap Aesthetics 3.2 Mahmood and His Inner Gaze on Shōnen 4. Conclusions Bibliography Part IV Interviews, Supplemental Essays, Appendixes 33 Brief Guide on Sound Design in the Anime Industry 1. About Sound Design in Cinema 2. The Sounds of Anime 3. Anime’s Sounds and Technology 4. Copyright and Market Bibliography 34 Isao Tomita and His Collaborations with Osamu Tezuka: Music’s Versatility Between Crosscultural Epigonism and Ultimate Mastery 1. Introduction: Being Isao Tomita 2. Isao Tomita’s Music 3. Isao Tomita and Osamu Tezuka 4. Conclusion: Transcending Stylistic Innovation Bibliography 35 Ambiguities of Post-dubbing in the United States 1. The “Sub vs Dub” Debate 2. The Case of US Voices, Accents, and Acting in Anime Dubs Bibliography 36 Interview with Shunsuke Kikuchi 37 Interview with Michiaki Watanabe 38 Interview with Mitsuko Horie 39 Interview with Kentarō Anai 40 Conversations with Four Outstanding Animators: What They Have to Say 1. Toshio Hirata. “Memories are inevitable” 2. Rintarō. “An end-of-the-world millenarian sentiment” 3. Tomoharu Katsumata. “Something happened that changed me from within” 4. Sayoko Kinoshita. “Why do I do this? Because I was born into this world” Bibliography 41 Interview with Takuya Imahori 42 Interview with Kenji Kawai 1. Introduction 2. A Lively Conversation at Aube Studio 3. Selected Additional Moments in Aube Studio’s Facilities 4. Conclusion 43 Appendix 1: The Main Music Score Composers in the History of Anime Kuniaki Haishima Kentarō Haneda Yukari Hashimoto Yūki Hayashi Yoshihisa Hirano Susumu Hirasawa Kenjirō Hirose Jō Hisaishi Yoshihiro Ike Taku Iwasaki Yūki Kajiura Yōko Kanno Kenji Kawai Naruyoshi Kikuchi Shunsuke Kikuchi Chūji Kinoshita Asei Kobayashi Satoru Kōsaki Kōji Makaino Torirō Miki Shinkichi Mitsumune Hiroshi Miyagawa Yūji Ōno Michiru Ōshima Kō Ōtani Shigeaki Saegusa Shirō Sagisu Toshihiko Sahashi Hiroyuki Sawano Akira Senju Kōhei Tanaka Tenmon Isao Tomita Hiroshi Tsutsui Sei’ichirō Uno Kaoru Wada Michiaki Watanabe Takeo Watanabe Toshiyuki Watanabe Shōji Yamashiro Takeo Yamashita Masaru Yokoyama Seiji Yokoyama Makoto Yoshimori Sources 44 Appendix 2: The Main Vocal Performers in the History of Anison Anri BB.Queens Megumi Hayashibara Aya Hirano Mitsuko Horie Mari Iijima Susumu Ishikawa Kayo Ishū Hironobu Kageyama Kumiko Kaori Kōrogi’73 Lisa Yōko Maekawa Ichirō Mizuki Shōko Nakagawa Kumiko Ōsugi Isao Sasaki Masato Shimon Yōko Takahashi Tm Network Māya Sakamoto Weiß Kreuz Masayuki Yamamoto Sources 45 Appendix 3: Historic Composers for Animation in Japan, 1920s–1950s Tōru Funamura Ryōichi Hattori Tadashi Hattori Fumio Hayasaka Hikaru Hayashi Kozaburō Hirai Ryūtarō Hirota Chōki Imazawa Noburō Itō Senji Itō Hajime Kaburagi Kyōsuke Kami Mitsuo Katō Yūji Koseki Shiro Matsumoto Tetsuo Nishigaki Takanobu Saitō Yoshitaka Sakamoto Kōkka Sassa Kōji Taku Setsuo Tsukahara Ei’ichi Yamada Sources Afterword Marco Pellitteri Glossary Basic Keywords of Japanese Animation, Music, and Sound Editor and Contributors The Editor The Contributors (in alphabetical order) Filmography and Videography Index