Animation Industries here and there

In a span of a week | came across with 3 different articles about Animation and Animation History.
Since the art itself has only a little more than a century of existing it is still really crude and really secretive.
In one hand it is art in the pother is an industry that moves money and a message in the era of communication and mass production. And of course, it also depends o n the place in the world it is created (and this has to do with economic and political reasons). 

Personally, even if I know about animation in Europe, Eastern Asia and North America I am not as familiar with how animation as an art form is produced everywhere. And my mental image goes firstly to the big american studio idea.

This is why these articles that reunite  different point of views about it and how things like the internet influence the future of the animation industry seems to be an important starting point for this conversation.

WHY OVER SIXTY YEARS OF ANIMATION HISTORY STILL REMAINS OBSCURE

3 Key Ways That Europe’s Feature Animation Scene Differs From The U.S.

How Online Animators are Revolutionizing Anime

This first Article is about anime and its view from western animation.
It makes a point in differentiate what it is the type of art that asian animators look for and why it usually make classic western animators cringe. It is a matter of the different values that each aim for.
The high point of the article, for me, is the difference of western animators as actors (hence the importance of character animation) and the japanese animators as cinematographers, making decisions trough composition.

This article makes a clear note about Sakuga (作画). It is translated as "work drawing". But when we talk about anime, sakuga, it is usually a scene or an episode of an anime, is the animation itself. And how its fans discuss and even track animators work by the scenes in different anime.
​

CARTOON BREW article emphasizes the difference between the now american feature film and the european animation industries. The article states the main differences between both views on animated features: A culture of smaller studios with no secrecy, and general lower budgets but also more risky in terms of art and design. And above those also more inspiration, the public of european animation is seen as wider than american (who still are deeply rooted in animation as only for children). 

The now day pathway to be a key animator in the worldwide animation industry has changed thanks to being able to share work online all the time, generate an audience and hopefully captivate the interest of specific directors.
This article is one of the most interestings since it reunites the experiences of american, european and one australian animator that have get into the industry by animating and sharing what they do.
" Learn animation. Post your work online. Take feedback. Improve. Be recruited onto a high profile project as a key animator."

The conclusion :
While big studios in America can’t allow themselves to have money losses for gathering little public with their productions, the European has a culture of smaller studios with little secrecy, and general lower budgets but also more risky in terms of art and design. And above those also more inspiration, the public of european animation is seen as wider than the American (who still are deeply rooted in animation as only for children).  This kind of research also helped me to know where to look at for references on artists I wanted to follow.