Tsugata (2011b: 30) has suggested that these changes truly created ‘anime’ as we know it today, distinct from the simpler ‘Japanese animation industry’ discussed in earlier chapters. In Japan, this created a sudden segmentation of the anime market, preserving the pre-existing structure of children’s entertainment, but also forming new discourse among viewers who had been children in the 1960s and 1970s, now able to consume sequels and remakes with an adult sensibility. Such transformations, as noted by Barbara Klinger in Beyond the Multiplex (2006), affected all developed markets worldwide, with prospects not only for revenue from tape rentals and sales, but also in the potential for preserving artistic heritage long after initial TV broadcast or cinema exhibition. In a period characterised by a booming Japanese economy (Kawai 1999: 81) and the increased availability of investment capital (Masuda 2007: 133-4), the advent of video led to a massive transformation in the nature of anime at the levels of ownership (studios and consumers), distribution and exhibition (video), and access (audiences).
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