Tadahito Mochinaga Exhibition at the National Film Center (Tokyo)

Tadahito Mochinaga: Puppet Animation Filmmaker

人形アニメーション作家 持永もちなが只仁

National Film Center, Tokyo

13 May – 10 September, 2017

http://www.momat.go.jp/english/fc/exhibition/mochinaga/

 

The National Film Center in Tokyo has been closed for renovations but will be reopening in May.  As part of their celebrations of thecentenary of Japanese animation the museum will feature an exhibition celebrating the career of legendary puppet animation pioneer Tadahito Mochinaga.  The exhibition will start with his contributions to early pre-war anime in Japan, such as assisting Mitsuyo Seo in the production of Ari-chan (1941).  Among his many innovations during the production of this film, he constructed the first multiplane animation table in Japan. 

In 1945, Mochinaga moved to China where he set up an animation studio and mentored young artists who would go on to become the top animators in the country.  Upon his return to Japan in 1953, he began producing educational puppet animation shorts.  One of these films, Little Black Sambo (1956) came to the attention of the American film producers Arthur Rankin, Jr. and Saul Bass and led to Mochinaga’s company doing the stop motion for some of America’s best loved television holiday classics such as Rudolph The Red-Nosed Reindeer (1964) and The Little Drummer Boy (1968). 

Mochinaga was a mentor to Japan’s puppet animation masters Kihachirō Kawamoto and Tadanari Okamoto, who in turn would inspire a future generations of stop motion animation in Japan.

The exhibition will feature original puppets, drawings, and notes.  There are also film screenings to be held July 22-23, 2017.  More information TBA at a later date.

To learn more about Mochinaga, read:

MOM Productions and the Making of Rudolph The Red-Nosed Reindeer

Rankin/Bass Christmas Specials: Made in Japan

The Little Drummer Boy

Little Black Sambo

Little Black Sambo and the Twins

2017 Cathy Munroe Hotes

Ari-chan (アリチャン, 1941)

The anime pioneer Mitsuyo Seo (瀬尾 光世, 1911-2010) is best known in the English speaking world for his wartime propaganda films Momotarō’s Sea Eagles (1942) and Momotaro's Divine Sea Warriors (1945), but these films are just the tip of the iceberg in terms of Seo’s contributions to early animation history.   Ari-chan (アリチャン, 1941) tends to get only a passing reference in English guides to anime history as the first Japanese animation to use a multiplane camera for the entirety of the film, but little has been written in English about the style and content of this film.

Multiplane Animation

The film was made by the studio Geijutsu Eigasha (芸術映画社), or GES for short, and was financed by the Ministry of Education’s film department Monbushō Eiga (文部省映画).   The animator assigned to assist Seo on Ari-chan was GES’s new employee Tadahito Mochinaga (持永 只仁, 1919-1999), fresh out of art school.  Mochinaga had fallen in love with Disney animation as a child, citing the Technicolor film Water Babies (Wilfred Jackson, 1935) from the Silly Symphony series as having inspired him to become an animator himself.  He dedicated his free time to the study of animation, making a short film How to Make Animated Films (1939) as his graduation project from his three year degree at Nippon Art College (today’s Nichibi).  (see: Kosei Ono article)

For Ari-chan, Mochinaga put his research into practice for the first time by designing, building, and using a four level multiplane camera.   The project was funded by the Ministry of Education, who wanted a short film for children.   The original scenario for Ari-chan was conceived by Mitsuyo Seo.  According to Mochinaga’s posthumously published autobiography, he was interested in working on the film because of Seo’s description of the final scene: a field of cosmos flowers set against the moon in the background.  These flowers had a personal meaning for Mochinaga because he had fond memories of playing in fields of cosmos when he was a child in Manchuria.  Mochinaga felt that the best way to achieve this scene was by using a multiplane camera.  Seo was won over by the idea, but he had some push back from the studio.  In the end, Seo invested his own money in the venture so that Mochinaga would have creative control.  The production did not run smoothly however, because part way through the shoot GES merged with Asahi Kinema and they had to take the multiplane camera apart and move it to a new studio and reassemble it.  Mochinaga also nearly ran out of the paper he was using for the watercolour backgrounds (see: Mochinaga). 

Influence of Disney’s Silly Symphonies

It is likely that Seo and Mochinaga were influenced by the Walt Disney Silly Symphony series for both the style and format of Ari-chan.  Disney’s first use of the multiplane camera was in their Oscar award winning short The Old Mill (1937) – a film that many Japanese animators have cited as influential on them creatively.  Just like the Silly Symphonies, Ari-chan pairs music and animation, is aimed at children, and uses anthropomorphic insects.  In fact, I was struck during the opening sequence of the obvious similarities between Ari-chan and Disney’s The Grasshopper and the Ants (Wilfred Jackson, 1934).  

This Silly Symphony is based on the famous Aesop fable The Ant and the Grasshopper (note: for some strange reason this story is called The Ant and the Katydid アリとキリギリス in Japanese) about a lazy grasshopper who spends the summer months at play while the ants use the time to work hard to prepare for winter.  As in The Grasshopper and the Ants, Ari-chan opens with a shot of the base of an enormous tree where ants are busy at work.  The film also features grasshoppers that play fiddles, and the usual pratfall humour of animated shorts, but that is where the story similarities end.

The Story

Instead of being lazy, the grasshoppers in Ari-chan are depicted as dedicated musicians.  The story focusses on the title character Ari-chan, or “Little Ant”, a child ant not yet old enough to help the colony with their work.  Ari-chan rolls up on his tricycle and tries to help the grown-ups, but when his efforts fail he goes off into the field of flowers to play.  He blows the seeds off a dandelion and chases the parachuting seeds until he discovers a little garden with a sandbox of toys.  A fiddle lying on the ground catches his eye and he decides to take it.

Ari-chan runs through the flowers, playing the fiddle as he goes.  Meanwhile, through a crosscut we see the owner of the fiddle discovering the theft and appearing distressed.  Ari-chan is oblivious to the pain he has left in his wake and continues on his merry way until he discovers his friends at play.  They also want to play with the fiddle, but Ari-chan shakes his head “no”.  The butterfly offers him the sweet nectar of a flower, and this is all it takes to convince Ari-chan to share his treasure.  The butterfly (chō) plays the fiddle beautifully, strumming it as if it were a harp.  Next up are the mantis (kamakiri) and the ladybug (tentō-mushi), who play a more country style melody, with the mantis jumping on the strings and the ladybug playing on the fret.  Finally, the rhinoceros beetle (kabuto-mushi) gives it a go, but his long horn comically gets in the way.  He struggles to disengage himself, causing the fiddle to go flying and breaking its strings.  Ari-chan tries desperately to repair the fiddle.

The moon comes out, and the grasshopper orchestra begins to play its magical melody on a variety of string instruments (violins, violas, cellos).  Inspired by this, Ari-chan plucks a blade of grass to try to play the fiddle in the same way.  Just then, an ominous black shadow of a hand interrupts the proceedings.  It is the hand of a small child trying to capture an insect for his bug cage.  The insects run for their lives in a dramatic sequence.  After a close call, Ari-chan climbs on the back of the grasshopper conductor and they escape together.  The grasshopper conductor pats Ari-chan’s head then goes back to conducting.   Ari-chan once again tries to join in, but suddenly realizes the value of the fiddle.  In another dramatic sequence, he rushes back to the home where he found it and discovers the fiddle owner in tears.  Without drawing attention to himself, he quietly slips the fiddle into the house and returns happily to playing with the dandelion seeds.  The final sequence is a multilayered image of the orchestra playing superimposed with cosmos flowers and the moon.  The young female grasshopper reunited with her instrument joins in.  The film concludes with Ari-chan running home to his mother’s embrace. 

Music

The score for Ari-chan was composed by Tadashi Hattori (服部正, 1908-2008).  Hattori composed the scores for many films in the 1940s and 1950s including several by Akira Kurosawa (The Men Who Tread on the Tiger’s Tail, Those Who Make Tomorrow, No Regrets for Our Youth, and One Wonderful Sunday), as well as animated shorts by Seo’s mentor, Kenzō Masaoka (Tora-chan, the Abandoned Kitten, and Tora-chan and the Bride).  Hattori stands out among other composers for his love of the mandolin, composing many pieces for mandolin orchestras (watch the Amedeo Mandolin Orchestra perform Hattori’s Italian Fantasy here).  As a lover of string instruments, he was the ideal candidate to collaborate on the music.  The music matches the screen action perfectly.  There was by 1941 already a tradition in Japan of pairing music with animation, dating back to the record talkies of the late 1920s / early 1930s, but this is the earliest animation that I have seen from Japan where the music has so perfectly been composed for the animation with music as a central theme to the plot.  They have clearly made an effort to emulate the Disney style, and have done a brilliant job of it considering their technical limitations: no colour film stock, limited celluloid, and a very small crew. 

Mixed Media

Like the early Disney films (Silly Symphonies, Snow White) Mochinaga did the backgrounds using watercolour on paper.  Although Snow White (1937) predates Ari-chan, it is unlikely that Mochinaga and Seo would have seen it.  Due to the war, Snow White was not distributed in Japan until 1950.  It is certainly possible that they had read about the film and the techniques that it used. 

One obvious difference between the Disney style and this film is the use of cutouts for certain effects.  To my knowledge, Disney did not use cutouts on the multiplane camera, just celluloid painted with acrylic and a watercolour background.  One of the most obvious uses of cutouts in Ari-chan is in the simulated “iris” transition done between Ari-chan discovering the fiddle and Ari-chan running through the flowers.  In some of the garden scenes, the plants and flowers look too textured to have been merely drawn on cel.  He also gives the image more depth in the final musical sequence by using superimposition.  It seems likely given Mochinaga’s limited resources that he took whatever measures necessary to give each scene the look that he wanted.  The result is an engaging short that would be absolutely stunning if digitally restored. 

Opening and Closing Titles

The credits look as though they were written on a chalkboard then superimposed onto the film.  The opening and closing titles are mostly in katakana written left to right, with kanji used for the name of the director and the film’s sponsor (Monbushō Eiga).  Reading horizontally from right to left has become rare in Japan, although you still see it on some signs like ramen restaurants and police car doors.  Japanese these days is more commonly read/written vertically (top to bottom / right to left), or Western-style horizontally (right to left / top to bottom).  The choice of katakana for the title indicates that the film was intended for children.  Children’s literature today is usually written in hiragana, but in the 1930s they preferred katakana.  The title also uses archaic katakana forms such as ヱ (ye), ヲ (wo), and ハ (ha) for “wa”.  At the end of a Japanese animation it is common to see “Owari” (The End) written in various ways: おわり (hiragana), オワリ (katakana), or 終わり/ 終 (kanji).  In Ari-chan they use an archaic form ヲハリ written right to left リハヲ. 

It took some time for my friend and colleague, Keiko Sasaki, and I to figure out that the first title card モンブシャウ　ヱイグワ reads Monbushō Eiga (文部省映画).  The modern reader would pronounce it “Monbushau   Yeiguwa”.  The only place one sees “ye” ヱ regularly these days is the archaic form of Ebisu used by Yebisu Beer (ヱビスビール).   The use of ウ to indicate a long vowel sound in katakana has been replaced by ー in modern Japanese.   I don’t know why they use シャウ (shau) instead of シヨウ (shō) and グワ (guwa) instead of ガ (ga), but it is certainly fascinating how much Japanese has changed since the war. 

Availability

The film is in the archives of the NFC and appears on Disc 3 of the Japanese Art Animation Film Collection. 

Catherine Munroe Hotes 2015

References:

Hu, Tze-Yue G.  Frames of Anime: Culture and Image-Building.  Hong Kong: Hong Kong UP, 2010. 

Mochinaga, Tadahito.  Animēshon Nitchū kōryūki: Mochinaga Tadahito jiden. Tokyo: Tōhō Shoten, 2006.  

Ono, Kosei.  “Tadahito Mochinaga: The Animator Who Lived in Two Worlds.”  AWN. 4.9 (December 1999).

Little Black Sambo (ちびくろさんぼのとらたいじ, 1956)

Tadahito Mochinaga’s Little Black Sambo (ちびくろさんぼのとらたいじ, 1956) is a significant film in the history of animation, because it was the screening of this film at the Vancouver International Film Festival in 1958 that brought Mochinaga to the attention of Arthur Rankin, Jr. and Jules Bass of Videocraft International (later Rankin/Bass).  This led to Rankin/Bass partnering with Mochinaga’s MOM Productions in the making of Rudolph the Red-Nosed Reindeer (1964) and other holiday classics.  (See: MOM Productions and the making of Rudolph the Red-Nosed Reindeer)

The puppet animation in Little Black Sambo is superior by the standards of the 1950s; however, it is difficult to praise the animation because of the deeply offensive nature of the original source material.  Little Black Sambo was Mochinaga’s first independent project when he returned from China.  After a couple of years making commercials for Asahi Beer, Mochinaga founded the Puppet Animation Studio (later MOM Productions) in 1956.  This project was an adaptation of the turn-of-the-century children’s book by Helen Bannerman, The Story of Little Black Sambo (1899), which was very popular during the first half of the 20^th century.   Although the original story caricatured a southern Indian or Tamil child, the book quickly became synonymous with racist pickaninny caricatures of black people.  In fact, the name “sambo”, which originally meant a person with African heritage, by the mid-20^th century had become an offensive slur. 

Today, the book rarely appears in the English speaking world outside of studies on racism, but Japan has had a troubled history with the story.  (See:  Mulatto Diaries, Asahi, Black Tokyo)  Shockingly, the Sambo stories have been republished as recently as 2005, and merchandise featuring the racist illustrations was being marketed in Japan as recently as 2007 (See: Japan Probe).  When these allegations of racism raise their head, people are often quick to excuse the Japanese claiming that they are merely “ignorant” or “insensitive” (See: Chicago Tribune article from 1988), which may have been true in Mochinaga’s day, but it is an excuse that has worn thin in the 21^st century. 

Mochinaga’s Little Black Sambo is presents a fascinating picture of the ignorant views of black people that Helen Bannerman’s book and others like it exported to Japan.  Sambo and his parents are depicted as being African.  As I mentioned in my review of the sequel Little Black Sambo and the Twins (ちびくろのさんぼとふたごのおとうと, 1957), the puppets, which were designed by Kihachirō Kawamoto, have lost the offensive big-lipped portrayal of Frank Dobias’s caricatures in the original Japanese translation.   In fact, Sambo’s face looks very similar to puppets of Japanese children in Mochinaga’s other works, but with a darker skin tone and Bambi-like eyes.  Sambo’s father no longer resembles Dobias’s pickaninny stereotype with a straw hat.  Instead, he has been given a North African / Ottoman appearance, complete with a fez hat.   The body shape of Sambo’s mother adopts the fat “Mammy” stereotype of Dobias’s book but like Sambo, her face has been adapted into a more kawaii Japanese aesthetic.   The racial stereotypes in the film are those of cultural ignorance, and give an accurate picture of the unsophisticated view of Africa and black people in the 1950s not just in Japan but in Europe and North America as well. 

While the character design brings together influences from as far afield as the United States and the Middle East, the set design confuses things even further.  The film opens with Sambo’s father coming home through the desert.  Since the characters appear “African”, one would presume that this desert is the Sahara, but it features cacti that belong in the Americas.  It seems likely that American westerns, which were very popular in Japan from the 1930s onwards, influenced this look for the desert.  When Sambo goes for a walk, he goes into the jungle – which of course, comes from the fact that the original story was set in southern India, but is certainly unlikely to be found on the edge of a desert. 

This image is from the sequel, Little Black Sambo and the Twins

The story itself follows that of the book fairly accurately, adding a pair of friendly monkeys who interact with Sambo.    Sambo’s mother sews him a brand new red coat and a pair of blue trousers.  His father comes home from the Bazaar with an umbrella for his son.  Delighted with his new clothes and umbrella, Sambo decides to go for a walk in the jungle.  Along the way, he meets a cheerful pair of monkeys who ask if they can play with the umbrella.  Sambo says that they can if they promise not to wreck it. 

The monkeys promise, but then immediately start playing wildly with the umbrella.  Sambo fears they will damage it, but the monkey’s play is interrupted by the sound of a roar.  A tiger appears and Sambo is terrified.  The tiger announces that he will eat Sambo, but thinking quickly, Sambo offers him his new jacket.  The tiger accepts this bribe and leaves.  The scenario repeats itself with two other tigers, with Sambo giving away his trousers and his umbrella.  Bereft of all his new things, Sambo cries and the monkeys try to comfort him, suggesting that Sambo should ask his father to get new things. 

Just then, there is more growling announcing the return of the three tigers.  Sambo and the monkeys hide up a tree while the tigers confront each other.  They put down their new possessions in order to fight each other.  The three tigers chase each other in a circle around the tree until they churn themselves into butter (ghee in the original tale, because it was set in Southeast Asia).  Sambo collects his things and runs off to tell his father what has happened.  His father collects the butter and brings it home so that Sambo’s mother can make donuts (pancakes in the original tale).  The film ends with the family eating all the tiger-striped donuts. 

When the film is evaluated in terms of its animation alone, one can easily see why it caught the eye of Rankin and Bass at VIFF 1958.  Anachronistic and racial elements aside, Sambo himself is very cute, and I’m sure would delight an audience of children.  The character movements, such a challenge in frame-by-frame stop motion animation, are beautifully done and impart a great deal of character information.   The pair of rascally monkeys have clearly been added by Mochinaga for comic effect.  We also learn a lot more about Sambo’s friendly nature from his interaction with the monkeys.   Sambo is also depicted as having a loving, idyllic relationship with his parents.    

The film keeps costs low by have a limited number of effectively designed sets.  It creates visual interest by varying camera distance and using Classical Hollywood editing.  The film also takes advantage of music to complement the action of the film – and music would become the hallmark of a Rankin/Bass holiday special.  The print shown by Ilan Nguyen at RICA Wissembourg last month was not the best transfer, and I have not heard of the film having been digitally restored yet.  A proper DVD set of Mochinaga’s works has not yet surfaced, although five of his works do appear on the DVD Japanese Art Animation Film Collection 7: The Animation Group of Three and Experimental Anime (日本アートアニメーション映画選集7　アニメーション三人の会と実験アニメ, 2004), which can be found in the video archives of university libraries such as Musabi and Tamagawa.  The entire 12 DVD collection日本アートアニメーション映画選集　全１２巻 can be ordered from Kinokuniya, but it is unfortunately well out of the price range of the average individual. 

Cathy Munroe Hotes 2014

To read more:

The Florence White Williams illustrated edition of Little Black Sambo can be downloaded for free at Project Gutenberg.  This version uses pickaninny and Mammy stereotypes. 

To learn more about Mochinaga, read Kosei Ono’s short biography: “Tadahito Mochinaga: The Japanese

Animator Who Lived In Two Worlds” AWN 4.9 (Dec 1999).

Film Credits:

Running Time: 18 minutes / 18分

Release Date: November 1956

Director: Tadahito Mochinaga (持永只仁)

Producer: Kiichi Inamura (稲村喜一)

Original Story: Helen Bannerman (ヘレン・バンナーマン) with illustrations by Frank Dobias (フランク・ドビアス)

Screenplay: Haruo Mura (村治夫)

Music: Mitsuo Katō (加藤光男)

Cinematographer: Jirō Kishi (岸次郎)

Art director: Junji Eguchi (江口準次)

Puppets: Kihachirō Kawamoto (川本喜八郎)

Japanese Art Animation Film Collection: 12 Volume Set / 日本アートアニメーション映画選集 全１２巻

Japanese Art Animation Film Collection: 12 Volume Set

 日本アートアニメーション映画選集　全１２巻

In 2004, Kinokuniya released an amazing 12 volume DVD set of early Japanese animation from the pre-war period to the late 1970s.  The DVDs feature the works of early animation pioneers including Noburō Ōfuji, Kenzō Masaoka, Mitsuyo Seo, Ryūichi Yokoyama, and Tadahito Mochinaga.  In addition, many rare experimental and puppet films of the 1960s and 70s are featured on the discs, including the works of the Animation Group of Three (Yōji Kuri et al.) and their peers, and the puppet animation masters Tadanari Okamoto and Kihachirō Kawamoto.  While some of these works appear on other compilations, the vast majority of the films on these discs had never been released before in 2004, and many continue to be difficult to find. 

Although this amazing compilation would be of interest to animation scholars the cost is very prohibitive.  Unfortunately, the discs are not available individually so unless you can afford the approx. ¥350,000 price tag (2,400€ / $3,000) I would advise watching the films at a university archive (ie. Musabi and Tamagawa).  Those with deep pockets can order the DVD set via Kinokuniya (JP only, no subs).

Update:  Prof. Aaron Gerow of Yale University has sent me a World Cat link to institutions in the USA that have this DVD collection in their archives.  Kōji Yamamura has also informed me that for those who can afford it, the DVD collection is stocked by his store / gallery Au Praxinoscope.

Using an announcement of a screening of the DVDs over at Web Anime Style (JP) back in 2004, I have translated the DVD contents and added dates to the movies:

１）大藤信郎傑作選 / Noburō Ōfuji Works

The Burglars of Baghdad Castle (1926), Saiyūki: Songoku Monogatari (1926), Mikansen (1927), Black Cat (1931), Kogane no Hana (1929), The Village Festival (1930), Kokoro no Chikara (1931), Song of Spring (1931), Numa no Taisho (1933), Kareu san yūshi (1928), Hyotei and Heibei's Tengu Hunt (1934), Chinkoroheibei and the Treasure Box (1936), Dream of a Snowy Night (1947), Dangobetorimonocho hirakegomano maki (1952), Flower and Butterfly (1954)

『馬具田城の盗賊』『西遊記 孫悟空物語』『みかん船』『黒ニャゴ』『こがねの花』『村祭』『心の力』『春の唄』『沼の大将』『蛙三勇士』『天狗退治』『ちんころ平平玉手箱』『蜘蛛の糸』『雪の夜の夢』『団子兵衛捕物帖 開けーゴマの巻』『花と蝶』

２）政岡憲三とそのグループ  / Kenzō Masaoka and his Group

Nonsense Story (1931), The Story of the Chagama Family (1934), Benkei vs. Ushiwaka (1939), Spring Fantasy (1946), Tora-chan_ The Abandoned Kitten (1947), Tora-chan and the Bride (1948), The New Battle of Monkey and Crab (1936), The Sparrow’s Inn (1936)

『難船ス物語　第壱篇　猿が島』『茶釜音頭』『べんけい対ウシワカ』『桜』『すて猫トラちゃん』『トラちゃんと花嫁』『新猿蟹合戦』『雀のお宿』

３）瀬尾光世作品集 / Mitsuyo Seo Works

Sankichi the Monkey: The Storm Troopers (1934), Genroku Koimoyou: Sankichi to Osayo (1934), Private Norakuro (1935), Tiny Chibisuke's Big Adventure (1935), Tekusuke Monogatari (1938), Ahiru Rikusentai (1941), Ari-chan the Ant (1941)

『お猿の三吉　突撃隊』『元禄恋模様　三吉とおさよ』『のらくろ二等兵』『のらくろ一等兵』『一寸法師　ちびすけ物語』『テク助物語』『あひる陸戦隊』『アリチャン』

４）戦前傑作選  / Pre-War Masterpieces

Kanimanji Engi (Hidehiko Okuda/ Hakusan Kimura / Tomu Uchida, 1924); Zenjirō aka Sanae Yamamoto’s The Tortoise and the Hare (1924) and Mountain Where Old Women are Abandoned (1923);  2 shorts by Hakusan Kimura,  Yasuji Murata’s Our Baseball Match (1930), Manga: Osaru no tairyo (1933), Kiyoji Nishikura’s A Day in the Life of Chameko (1931), Akira Iwasaki’s Three Little Bears (1931), Ikuo Ōishi’s Ugokie kori no tatehiki (1933), Yoshitarō Kataoka’s Danemon's Monster Hunt at Shojoji (1935), Wagoro Arai’s Madame Butterfly’s Fantasy (1940)

　奥田秀彦・木村角山・内田吐夢『蟹満寺縁起』、山本早苗『兎と亀』『日本一 桃太郎』、木村白山『塩原多助』『御国の為に』、村田安司『おいらの野球』『お猿の大漁』、西倉喜代治『茶目子の一日』、岩崎昶（村山籌子・知義）『三匹の小熊さん』、大石郁雄『動絵狐狸達引』、片岡芳太郎『塙団右衛門　證城寺の狸囃子』、荒井和五郎『お蝶夫人の幻想』

５）戦中期篇  Wartime Films

Mototaro’s Sea Eagles (Mitsuyo Seo, 1942), The Battle of the Malay Sea (Noburō Ōfuji, 1943), Fukuchan’s Submarine (Ryūichi Yokoyama, 1944)

瀬尾光世『桃太郎の海鷲』、大藤信郎『マレー沖海戦』、横山隆一『フクチャンの潜水艦』

６）戦後・現代前傑作選  Post-War Works

A Magic Pen (Masao Kumakawa, 1946), Muku no ki no hanashi (Shōji Maruyama, 1947), Once Upon a Beer (Tadasu Iizawa, 1956), Plus 50,000 Years (Shin’ichi Suzuki, 1961), Tasukeai no rekishi (Gisaburō Sugii, 1976), Tenguri, Boy of the Plains (Yasuo Ōtsuka, 1977), The Wild Rose (Katsuo Takahashi, 1976)

　熊川正雄 『魔法のペン』、丸山章治 『ムクの木の話』、飯沢匡 『ビールむかしむかし』、鈴木伸一『プラス50000年』、杉井ギサブロー『たすけあいの歴史』、大塚康生『草原の子テングリ』、高橋克雄『野ばら』

７）持永只仁作品集 The Works of Tadahito Mochinaga

The Melon Princess and the Amanojaku (1956), Five Little Monkeys (1956), Fushigina Taiko (1957), Kobutori (1957), Bunbuku Chagama (1958), Ousama ni natta Kitsune (1959)

『瓜子姫とあまのじゃく』『五匹の子猿たち』『ふしぎな太鼓』『こぶとり』『ぶんぶくちゃがま』『王さまになったきつね』

８）横山隆一作品集 / The Works of Ryūichi Yokoyama

Fukusuke (1957), Hyōtan Suzume (1959), 50,000 Insects (12 episodes)

『ふくすけ』『ひょうたんすずめ』『五万匹傑作選（全12話収録）』

９）東映アニメとその流れ / Developments at Toei Anime

Kappa Kawatarō (Taiji Yabushita, 1954), Kuroi Kikori to Shiroi Kikori (Taiji Yabushita, 1956), Kitty’s Graffiti (Taiji Yabushita, 1957), Kitty’s Studio (Yasuji Mori, 1959), Yumemi Dōji (Kōji Fukiya, 1954),  The Mouse Marries (Daisaku Shirakawa / Sadao Tsukioka, 1961), Ikiteirutte Subarashii! (Kimio Yabuki, 1972)

　薮下泰司 『かっぱ川太郎』『黒いきこりと白いきこり』 『こねこのらくがき』、森やすじ 『こねこのスタジオ』、蕗谷虹児『夢見童子』、白川大作・月岡貞夫『ねずみのよめいり』、矢吹公郎『生きているってすばらしい！』

10）学研の仕事 / Educational Works

Poron Guitar (Takehiro Ono, 1959), Kazuhiko Watanabe’s films: The Town Mouse and the Country Mouse (1959), Kaguya Hime (1961), The Jataka Tale of the Golden Deer (1962), The Tale of the Crane (1965), The Little Match Girl (1967)

　小野豪『ポロンギター』、渡辺和彦 『いなかねずみとまちねずみ』『かぐや姫』『ジャータカ物語　きんいろのしか』『つるのおんがえし』『マッチ売りの少女』

11）アニメーション三人の会と実験アニメ / Animation Group of Three and Experimental Anime

Animation Group of Three: Yōji Kuri’s Fashion (1960), Kiseki (1963), Man and Woman and Dog (1963), Samurai (1965), Flower (1967); Ryohei Yanagihara’s Commotion at Ikedaya (1961), Two Samurai (1963), and M.S. Chanda (1964); and Hiroshi Manabe’s Time (1963), Submarine Cassiopeia (1964), Chase (1966)

Experimental Anime: Nobuhiro Aihara’s Stone (1975) and Karma (1977); Tatsuo Shimamura’s Illusion City (1967) and Transparent Man (1969), Shin’ichi Suzuki’s The Gourd Bottle (1976) and Dot (1971); Sadao Tsukioka’s The Creation (1970), The Colour of Sal Tree Blossoms (1971); Seiichi Hayashi’s Shadow (1967) and Oni Love Song (1971); Taku Furukawa’s Phenakistoscope (1975) and Coffee Break (1977)

　久里洋二『ＦＡＳＨＩＯＮ』『軌跡』『Ｍａｎ　ａｎｄ　Ｗｏｍａｎ　ａｎｄ　Ｄｏｇ』『ＳＡＭＵＲＡＩ　侍』『ＦＬＯＷＥＲ』、柳原良平『池田屋騒動』『両人侍誉皮切』『Ｍ．Ｓ．ＣＨＡＮＤＡ』、真鍋博『時間』『潜水艦カシオペア』『追跡』、相原信洋『ＳＴＯＮＥ』『カルマ』、島村達雄『幻影都市』『透明人間』、鈴木伸一『ひょうたん』『点』、月岡貞夫『新・天地創造』『裟羅双樹の花の色』、林静一『かげ』『鬼恋歌』、古川タク『驚き盤』『コーヒーブレーク』

12）パペットアニメーショウ / Puppet Anime-Show

Tadanari Okamoto’s Chikotan (1971), Five Small Stories (1974), The Strong Bridge (1976), Kihachirō Kawamoto’s The Breaking of Branches is Forbidden (1968), Tabi (1973), House of Flame (1979)

岡本忠成『チコタン　ぼくのおよめさん』『小さな五つのお話』『ちからばし』、川本喜八郎『花折り』『旅』『火宅』

JP Source: http://www.style.fm/log/02_topics/top031218a.html