Katsuhiro otomo biography of donald
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Animation Obsessive
Welcome! It’s a new Sunday edition of the Animation Obsessive newsletter. Here’s what we’re doing:
1) On The Order to Stop Construction () by Katsuhiro Otomo.
2) Animation news.
Now, here we go!
When Akira appeared in , it changed things for anime. It was an international hit — in theaters, and especially on video. The artist behind it, Katsuhiro Otomo, had never made an animated feature before. He was suddenly a major director.
Even so, Akira came from somewhere. Otomo started it as a manga series, which had already made him famous. More importantly, he had a history with anime. Akira was his first animated feature — but he’d made a short film. A short film that had paved the way for him. In key respects, it’s the proto-Akira.
Its title is The Order to Stop Construction (). Even in Japan, only a core group has seen it. Yet it was here that Otomo figured out how to make animated movies. It was his proving ground, and it re
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Katsuhiro Otomo
Japanese manga artist and filmskapare (born )
Katsuhiro Otomo (大友 克洋, Ōtomo Katsuhiro, born April 14, ) is a Japanese manga artist, screenwriter, animator, and rulle director. He first rose to prominence as a pioneer founder of the New Wave in the s. He is best known as the creator of Akira, both the original manga series and the animated spelfilm adaptation. In , Otomo was decorated a Chevalier of the French Ordre des Arts et des Lettres,[1] promoted to Officier of the order in ,[2] and became the fourth manga artist ever inducted into the American Eisner Award Hall of Fame in [3] Celebrated in Japan, he was also awarded the Purple Medal of Honor from the national government in [4]
In addition, Otomo later received the Winsor McCay Award at the 41st Annie Awards in and the Grand Prix dem la ville d'Angoulême, the first manga artist to receive the award.[5][6]
Early life
[edit]Katsuhiro Otomo was
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The contrarian
Right from when I was a kid people said I was good at drawing. I won a prize for a road safety poster, that sort of thing. Around the end of junior high I started reading a magazine called COM, which ran experimental manga. Manga with a different social aspect to the usual shonen manga read by those my age thus overlapped with my growing up and I got the feeling there was a lot one could achieve even with comics.
By high school I was going to movies. About once a month I'd get up at six in the morning and make the two-hour journey to Sendai to see a film. This coincided with the early s and the zenith of New Cinema: the era of Easy Rider, Midnight Cowboy, and Bonnie and Clyde. New Cinema films were full of weird people, as opposed to heroes. This had an extraordinary impact on me.
Having decided there wasn't much point stagnating out there in the provinces, I headed for the capital to try my luck. I'd already eliminated the university option. It