本稿は日本のアニメ産業を事例に、芸術的な感性を問われる製品制作（開発）における情報技術導入の意義を分析する。まず、開発における工程ごとに詳細に検討することによって、「彩色」「撮影」では業界全体で情報技術が普及しているが、「作画」では一部に3DCG が組み込まれているがデジタル作画はあまり行われていないことを明らかにする。さらにこうした工程ごとの細かい分析により、情報技術の登場初期には情報技術投資と生産性の間には関係性が見られないという生産性のパラドックスが生じる理由、並びにそのことで、手描きと3DCG のハイブリッドが生まれたメカニズムも明らかになる。

本稿は，東京におけるアニメーション産業労働者のスタジオ内での活動と転職行動を事例に，大都市の文化創造性におけるアニメスタジオの役割について議論するものである．

アニメーション産業は日本の文化産業の一つとして，国内外に認知されているが，アニメーションを作り出す労働者の実態についてはあまり知られていない．当該産業は国内では東京に一極集中しており，労働者は東京という都市空間の中で技術を習得し，職をみつける．本稿では，この労働者の生産活動に注目する．労働者は担う仕事の違いによって大きく生産部門と制作部門に分けられる．生産部門労働者の生産活動は，主として所属するアニメスタジオ内に限定される．一方で，制作部門労働者の活動はアニメスタジオの内外に展開する．

アニメスタジオの内外には，彼らの活動を支える様々なインフラやアメニティが整えられている．労働者はこのインフラやアメニティを利用することで，昼夜の時間を問わず，生産活動に従事することができる．またアニメスタジオには，異なる専門技術を持つ労働者が同じ時間帯に働いており，突発的なミーティングなどもなされている．アニメスタジオ間は制作部門労働者が頻繁に往来しており，そこでも物流や情報流がみられる．

This paper reviews studies focused on the economic and social restructuring of cities in developed countries in the 2000s (2000-2009) from the viewpoint of economic geography. Drawing on critical examinations of the global cities thesis and the creative class thesis by Saskia Sassen and Richard Florida, respectively, the author points out the following four features of urban restructuring during the decade.

First, urban spaces that contain land and buildings have gradually been incorporated in global financial capitalism. In other words, they have become financial products that have been traded beyond local and national borders, which caused a growth in financial business and a rapid rise in housing prices and rent prior to the financial crisis. The surge of financial capitalism in the 2000s has had a tendency to destabilize urban spaces and the lives of the residents in these areas.

Second, neo-liberal policy movements have emphasized intensifying intercity competition and the rise of urban entrepreneurialism. City governments increasingly tend to pay more attention to attracting mobile capital, and neglect social policy for city residents, who are relatively immobile.

Third, according to Sassen, global cities are characterized by the economic and social polarization of urban residents. In the 2000s, many Japanese writers and researchers discussed the fact that Japan had been converted into a gap-widening society. The increasing job insecurity of younger workers is suggested as a cause of the widening of the income gap. In particular, some critics perceive the suburbs as a problem, partly because irregular and low-paid employment is often a feature of these regions. In addition, this decade has witnessed an increase in the regional disparity between Tokyo and the rest of Japan.

Fourth, the intercity competition for attracting highly skilled talents has been accelerated in the 2000s. Richard Florida insists that attracting the creative class is fundamental to urban development. He suggests that diversity, openness, and tolerance are magnets that attract the creative class. Although his view has drawn the attention of local politicians and policymakers, a considerable number of scholars criticized it for several reasons. One of these criticisms is that urban development can be better explained in terms of locations that offer job opportunities rather than the residential preferences of people or urban amenities. Another criticism is that urban policies based on Florida’s view possibly deepen the social divide between the creative class and the rest of the population. We have to recognize the importance of job creation in production activities throughout the production chains in order to prevent the deepening of the social divide in urban societies.