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:
“... men need women more than women need men; and so, aware of this fact, man has sought to keep woman dependent upon him economically as the only method open to him of making himself necessary to her.”
—Elizabeth Gould Davis (b. 1910)
“They have their belief, these poor Tibet people, that Providence sends down always an Incarnation of Himself into every generation. At bottom some belief in a kind of pope! At bottom still better, a belief that there is a Greatest Man; that he is discoverable; that, once discovered, we ought to treat him with an obedience which knows no bounds. This is the truth of Grand Lamaism; the “discoverability” is the only error here.”
—Thomas Carlyle (1795–1881)
“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)