The content of my undergraduate thesis is related to Japanese animation. I read some books and materials at that time.
The word seiyuu is a Japanese word, and Chinese means voice actor.
To become a voice actor, there are several prerequisites.
1, enough for work.
2. Full exposure
To sort out the context of seiyuu idolization, we can't put aside these two points.
I. Job requirements
1
The first wave of seiyuu came from the introduction of American films in the 1970s. Different from China, Japanese people are more receptive to the translation. At that time, there were countless people waiting for seiyuu to appear in front of the recording studio. The first wave was introduced in the late 1970s and began to decline.
2. Animation
Now people's understanding of seiyuu comes from animation, and the second and third peaks of seiyuu also depend on animation.
The meaning that otaku became what it means now was in the 1980s, which was also the second peak of seiyuu, and ended with the economic depression in Japan in the early 1990s.
The third wave began in the mid-1990s and EVA.
Combined with this period, the number of Japanese animations will be more intuitive and will be revised later.
Second, sufficient exposure.
Seiyuu, as the behind-the-scenes staff of audio-visual products, is difficult to get enough exposure, which comes from developed publications in Japan and the rise of the Internet in the late 1990s. In Japan, the per capita newspaper ownership is about one hundred people 1 12 (it may be wrong to write from memory, but it is certain that there is more than one per capita). The publishing industry is well subdivided.
Besides the above, another exposure point of seiyuu comes from drama, which is the main source of seiyuu's income.
Third, the emergence of specialized brokerage companies.
This is actually a symbol of the completion of seiyuu idolization.
Since the late 1990s, the emergence of seiyuu has become an important factor. There is no doubt that there are professional brokerage companies behind it.
Through the above points, we can basically draw a picture of translating movies and animations to provide food and clothing for seiyuu. With the increase of animation exposure, the exposure of animators increases, and professional brokerage companies appear to complete the final packaging.
Hymn Suzuki Toshi Utsumi founded the first Japanese animation magazine in the late 1970s, which was very popular in Ueno Yuji, Mamoru Oshii and Miyazaki Hayao. When we founded the magazine, we said: We want to show that animation is also made by adults. Anyone can watch animation and tell them that they can do animation in the future.
In fact, the idolization of seiyuu is also successful with the aging of Japanese animation groups.
There was no fixed occupation in the early animation seiyuu in Japan, and the actors in the drama troupe or deductive troupe mainly engaged in dubbing. With the introduction of the first animation in Japan in 1960s, the demand for animation dubbing increased greatly, which made a group of people start to specialize in animation dubbing. But in those days, the troupe-style performances tended to be younger and younger, which was reflected in the exaggeration and naivety in the animation dubbing.
The appearance of juvenile animation indicates that the Japanese animation market began to change, which led to the change of Japanese animation seiyuu dubbing style. From the late 1970s to the 1980s, youth animation ushered in a golden age, and the styles of voice actors began to differ, mainly divided into two types, one is the old-school voice actors who insist on matching real people with traditional film and television works, and the other is based on? Qing Er office? And then what? 8 1 generated? A new generation of voice actors represented by the thought.
At that time, Japanese TV stations implemented a copyright contracting system. Qing Er office? In cooperation with Tokyo TV Station and Fuji TV Station, he produced classic animation works such as "Saint saint seiya". Under this contract system, these seiyuu firms gradually monopolized the animation dubbing market at that time, and thus carved up the new and old dubbing market. Today, seiyuu has completely surpassed the traditional concept of voice actor, and formed an independent industry specializing in game and animation dubbing.
Since the new century, excellent Japanese animation works have sprung up like mushrooms after rain, the theme of animation has been further subdivided, and the dubbing system has been improved. After 2005, Japanese seiyuu began to gradually develop into an idol and frequently participated in offline activities such as stage plays and live concerts. Seiyuu music CDs frequently appear on the official mailing list of Oricon. Since Mizuki Nana boarded the Red and White Song Festival in 2009, seiyuu has come to the highest stage of Japanese singing, which shows that the idolization of seiyuu has reached its peak.
Now dubbing itself can't bring enough attraction and needs extra value. Seiyuu is no longer centered on artistic expression, but more like serving and entertaining the public.
Before Sanwen Entertainment, there was a special article, reviewing: the idolization wave of seiyuu in Japanese animation: μ? S single broke the record again, LoveLive! CD sales alone exceed 3 billion yen a year.
Use LoveLive! Animation μ? The nine roles of the S combination correspond to the 9-digit voice superiority.
China dubbing: the decline after 1990s.
The earliest film dubbing factory in China was Changchun Film Dubbing Factory, which established the dubbing style of the whole China film at that time. In 1980s, Shanghai Film Translation Factory made the dubbing style of translated films win the attention and recognition of the audience. In 1990s, Japanese animation was introduced into China. By imitating Japanese seiyuu, China's dubbing style and quality have been greatly improved.
It is generally believed that the animation dubbing level in China was the highest in the 1990s, on the one hand, because of its excellent talent resources, and in the 1980s, a group of dubbing actors with profound performance skills were trained, including many performing artists from the Film Academy. At that time, the quality level of these voice actors was comparable to that of Japanese seiyuu; On the other hand, there were abundant film resources at that time. With the support of the film import system, voice actors can not only participate in the dubbing of excellent domestic film and television works, but also get in touch with the most advanced Japanese animation and early Disney works such as Mickey Mouse and Donald Duck. Dubbing actors use these animations as reference for dubbing technology and apply them to domestic works, forming a China-style language art performance form. It can be said that the voice actors in China grew up with foreign film and television works at that time.
However, after more than ten years, due to institutional reasons, the introduction of foreign animation works almost disappeared. Therefore, under the protection of the policy system, the voice actors in China took over a very limited variety of films, mostly domestic TV dramas and youth animations. At the same time, with the rapid development of Japanese animation and more and more seiyuu performances, there is a fault in the animation dubbing industry in China.
This is why those children born in 1980s and 1990s who grew up watching Japanese animation feel that the Chinese dubbing of domestic animation is full of contradictions and they are used to the Japanese dubbing mode.
In addition, in recent years, domestic animation has begun to get on the right track, but almost all of them refer to Japanese works, and some of them are directly outsourced to Japanese animation companies, so the finished products look like real Japanese animation, and the audience will inevitably feel that the Chinese dubbing is inconsistent. This is also a difficult problem faced by the dubbing industry in China, that is, how to reverse the aesthetic habit of Chinese people on animated works and accept the animated China dubbing.
The dubbing industry lacks healthy commercial competition.
As mentioned earlier, after the animation market transformation, Japan has completed the division of new and old dubbing markets and the transformation of seiyuu industry, while China is in such a period of transformation.
At present, China's professional voice actors are mainly distributed in Beijing, Shanghai, Guangzhou, Changchun and other places, and the total number of voice actors is only about 600. There are many old people and few new people, and the dubbing circle is small. All the business of dubbing actors is mainly maintained through interpersonal relationships, which cannot form a fair and competitive dubbing market.
The corresponding external animation market has not formed reasonable commercial competition. Animation companies rely on government support, with low product cost and rough production. This mechanism will inevitably lead to the imperfection of animation dubbing industry.
However, there are already some professional dubbing studios in China, among which there are many excellent seiyuu recognized by domestic animation audiences. Coupled with the development of domestic animation and domestic games, the requirements for dubbing quality will be higher and higher.
With the development of the Internet and the introduction of genuine animation, the port for Chinese people to contact foreign animation works has been reopened. In this context, the government's support policies are no longer suitable for the current animation market environment in China. China, which is in a period of change and lag, will develop better and better in the future only if it brings the conscience made in Japan to China and constantly creates a benign market of fair competition for animation works.
Japanese anime seiyuu idols are commonplace, and with the development of the times, the degree of Japanese seiyuu idols is getting higher and higher. In recent years, seiyuu has appeared in various magazines, published photos and held concerts. This is the normal state. Activities are almost the same as ordinary idols, and more and more fans are pursuing seiyuu.
Nowadays, besides looking at the face, seiyuu should also be eloquent, flatter fans and know the skills of grasping fans' hearts, so as to really do his job well? They have no awareness of backstage work at all.
Don't seiyuu talk? Do you need any skills and acting skills? I think anyone can do it. In that case, isn't idol killing two birds with one stone?
I think no matter how good the actress's acting skills are, if she is too ugly, she can't win the hearts of fans, so now I try to choose some cute boys without acting skills, and the actress's voice level has also dropped.
When I saw Ono Daisuke, I smiled. D sang was really handsome when he was young! ! ! (Idiot face)