Open Entries Grand Prize
The awards for the creator of the non-commercialized work for TV, movie and OVA, to find new talents and to provide support for subsequent commercialization. The work must be an animation longer than 15 seconds, and no longer than 30 minutes. If the work was not commercialized before, professional creator also can enter this Grand Prize. The 2007 winner, Flutter, was the first work from a non-Asian country to win this award.
| Year | Winner | Title |
|---|---|---|
| 2002 | Youhei Takamatsu | Tokyo Animarathon1 |
| 2003 | Min-Yung Jung | Say My Name2 |
| 2004 | Tae-Ho Han | Africa a.F.r.I.c.A |
| 2005 | Shin Hosokawa | The Demon |
| 2006 | Kazuo Ebisawa | Crow that wears clothes |
| 2007 | Howie Shia | Flutter |
| 2008 | Helen Huang | Adventures in the NPM |
| 2009 | Heiko van der Scherm | Descendants |
| 2010 | G9+1 | Tokyo Fantasia |
| 2011 | Alice Dieudonne | Trois petits points |
| 2012 | Chen Xifeng | Pig Sale |
| 2013 | Tsai Shiu-Cheng | Time of Cherry Blossoms |
- Notes
- ^ Best Entry Award in Amateur Category
- ^ Best Entry Award in Student Category
Read more about this topic: Tokyo Anime Award
Famous quotes containing the words open, grand and/or prize:
“It’s fairly obvious that American education is a cultural flop. Americans are not a well-educated people culturally, and their vocational education often has to be learned all over again after they leave school and college. On the other hand, they have open quick minds and if their education has little sharp positive value, it has not the stultifying effects of a more rigid training.”
—Raymond Chandler (1888–1959)
“One would like to be grand and heroic, if one could; but if not, why try at all? One wants to be very something, very great, very heroic; or if not that, then at least very stylish and very fashionable. It is this everlasting mediocrity that bores me.”
—Harriet Beecher Stowe (1811–1896)
“It is impossible to think of Howard Hughes without seeing the apparently bottomless gulf between what we say we want and what we do want, between what we officially admire and secretly desire, between, in the largest sense, the people we marry and the people we love. In a nation which increasingly appears to prize social virtues, Howard Hughes remains not merely antisocial but grandly, brilliantly, surpassingly, asocial. He is the last private man, the dream we no longer admit.”
—Joan Didion (b. 1934)