For the past quarter century, fans of Japanese pop culture in Australia and New Zealand have been served almost exclusively by a single distributor: Madman.
For Roland Kelts's latest contributions to The Japan Times, see below:
One Japanese major publisher and producer is seeking to capitalize on YouTube influencers with a highly unusual approach: inviting non-Japanese anime YouTubers to live and produce content within Tokyo.
The lineup of artists onstage at the Tokyo premiere of "Sturgill Simpson Presents: Sound & Fury" was as eclectic as the film they'd all made: a 41-minute anime music video set to an entire album by the Grammy-winning Simpson.
Though relatively unheralded, Gkids scored the rights to U.S. re-releases of the work of anime giants — including Isao Takahata and Makoto Shinkai — by only showing them in cinemas.
With collaboration between nations increasing, the U.S. is seeing new opportunities in its anime market
When LeSean Thomas saw director Katsuhiro Otomo working through the night in a behind-the-scenes documentary of the anime "Akira," he thought: "That's what I want to do." Now, 20 years later, Thomas' "Cannon Busters" is debuting on Netflix.
Writer and director Mamoru Oshii is best known for creating sci-fi thrillers that challenge orthodoxy with their philosophical musings and provocative, often nutty, imagery. His most famous film, the 1995 anime epic "Ghost in the Shell," features a stone-cold cyborg heroine who dives nude ...
When it comes to Hollywood's versions of Japanese content, most fans return to the originals and wonder: Why can't they get it right? Jeff Gomez, CEO of Starlight Runner sheds some light on the West's cultural misreading of anime and manga.
From missionary work in Kagoshima Prefecture to creating arrangements for Joe Hisaishi's "Ni no Kuni" film score, composer Chad Cannon talks about his affinity with Japan.
Now a proud father of an slightly insecure superhero son, Ultraman has evolved not only stylistically but also emotionally for the new Netflix anime.