Dating a Kigurumi
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Trademarked Costumes in Parades: Phenomenologically Speaking
H-Celebration Trademarked Costumes in Parades: Phenomenologically Speaking Blog Post published by Tiff Graham on Friday, October 6, 2017 Have you thought about character costumes, mascots, or uniforms in parades affiliated with a recognizable brand? It might not be your first thought when seeing a bunch of people in Wonder Woman costumes striking poses, Smokey Bear waving from a truck bed, or a big faux fur bird, bear, or alligator mascot in sports jersey walking with a marching band in a parade. Maybe some people are thinking intellectual property (IP) thoughts of trademarks, copyright, and other legal concerns when seeing any branded entity in a parade, but not me. Yet, my mind veered to these thoughts while watching a recent parade with recognizable LEGO character costumes. I normally focus on the traditional costumes, DIY creations, and costumes where a human person was still visible, versus completely disguised from head to toe. I rarely sought out better photographic moments or interviews with a person wearing the Sparky the fire dog costume, Star Wars Chewbacca costume, or any other recognizable, trademarked character costume affiliated with government, business, corporate or educational institutions in a parade. So, what better place to start a phenomenological inquiry into my experience with trademarked costumed characters in parades. Before I run you off or build expectations, this blog entry will be an experiment of phenomenological thought, meaning it’ll be a roller coaster ride of words and thought associations about my experience with phenomenology, parades, costumes, and…things you can’t imagine but somehow burgeoned from this inquiry. -
Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her). -
Video Games and Costume Art -Digitalizing Analogue Methods of Costume Design
Video Games and Costume Art -digitalizing analogue methods of costume design Heli Salomaa MA thesis 30 credits Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design Aalto University School of Arts, Design and Architecture Supervisor: Sofia Pantouvaki Advisors: Petri Lankoski, Maarit Kalmakurki 2018 Aalto University, P.O. BOX 11000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract ! Author Heli Salomaa Title of thesis Video Games and Costume Art - digitalizing analogue methods of costume design Department Department of Film, Television and Scenography Year 2018 Number of pages 100 Language English Degree programme Master's Degree Programme in Design for Theatre, Film and Television, Major in Costume Design Abstract This thesis explores ways of integrating a costume professional to the character art team in the game industry. The research suggests, that integrating costume knowledge into the character design pipeline increases the storytelling value of the characters and provides tools for the narrative. The exploration of integrating a costume professional into game character creation as a process is still rare and little information of costume in games and experiences in transferring an analogue character building skillset into a digital one can be found, therefore this research was generated to provide knowledge on the subject. The research's main emphasis is on immersion-driven AAA-games that employ 3D-graphics and human characters and are either photorealistic or represent stylized realism. Technology for depicting reality is advancing and digital industries have become aware of the extensive skills required to depict increasingly realistic worlds. -
ABSTRACT Title of Thesis: a COSTUME DESIGN
ABSTRACT Title of thesis: A COSTUME DESIGN FOR DUKE ELLINGTON’S SOPHISTICATED LADIES Degree candidate: Angela M. Chavez Degree and year: Master of Fine Arts, 2004 Thesis directed by: Professor Helen Huang Department of Theatre The goal of this thesis is to document the design process and execution of the costume design for Duke Ellington’s Sophisticated Ladies, produced at the University of Maryland, College Park. The role of the costume designer is to support the vision of the director through collaboration with the production team. Background information leading to the original production of Sophisticated Ladies is presented. Based on this background, research was conducted to develop a costume design in conjunction with scene, lighting, and sound designs. Various aspects of the costume design execution are discussed leading to the successful realization of this production. An analysis of the design and execution was conducted and is presented along with concluding remarks specific to the costume design. Visual documentation is used to illustrate the various phases of this project and is contained in the appendices. A COSTUME DESIGN FOR DUKE ELLINGTON’S SOPHISTICATED LADIES by Angela M. Chavez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Fine Arts 2004 Advisory Committee: Professor Helen Huang, Chair Professor and Department Chair Daniel MacLean Wagner Instructor Alvin Mayes TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii -
An Examination of the Dualities of Cosplay Phenomenon in East Asia
Fashioning the Embodied Liminal/Liminoid Self: An Examination of the Dualities of Cosplay Phenomenon in East Asia By Anne Peirson-Smith, City University of Hong Kong Abstract: This paper will examine reasons for the rapidly developing cosplay phenomenon in East Asia by focusing on the cosplayer’s experience of the ritualized, embodied performance aspects of this contemporary play activity and its use or creation of liminal spaces and liminality to facilitate and accommodate it. Also, the paper will suggest that cosplay is a manifestation of the participatory need to fashion and inhabit new personal and social territories through the use of the fashioned body, aided by crafted artifacts, and undertaken in bounded play spaces. These practices enable the cosplayer to inhabit and occupy liminal zones, thereby transcending the pressures of their ordinary, everyday existence. This form of individual sense-making and collective agency is based on lived experience and situated practice, where the human body represents multiple discursive possibilities. This article intends to shed light on the motivations behind this type of spectacular dressing up or fashioned practice by offering an empirically based explanation of why given communities of practice spend their time and money on these sartorial behaviors. This article further hopes to advance knowledge about the reasons for dressing up in general, and for cosplay in particular. Permalink: Date of Publication: Vol. 16, no. 1 (2019) usfca.edu/center-asia-pacific/perspectives/v16n1/ peirson-smith Citation: Peirson-Smith, Anne. “Fashioning the Embodied Keywords: Liminal/Liminoid Self: An Examination of the Dualities Cosplay, liminality, dressing up, costume play, of Cosplay Phenomenon in East Asia.” Asia Pacific subcultures, performance Perspectives, Vol. -
PLAYERS BOOK PDF Version 1.1
PLAYERS BOOK PDF Version 1.1 Table of Contents 1: Heroes . .2 4: Hardware, Magic, and More . .41 Definition: What Is a Hero? . .2 Equipment: Weapons . .41 Abilities . .2 Vehicles . .46 Character Creation . .4 Setting Up House . .55 Character Modeling . .12 Magic In the Marvel Universe . .61 2: FEATs . .14 Hardware- Building, Modifying, Time Scale - the Turn . .14 and Allen Technology . .65 Initiative . .14 The Resource FEAT and Building . .68 The FEAT Roll Revisited . .14 Time and Building Things . .68 Types of FEATs . .15 Success! or — Eureka! I have found it! . .68 Making FEATs . .15 Kit-Bashing . .69 Types of FEATs II . .15 Modifying Items . .69 Movement . .19 Programming and Reprogramming . .69 Life, Death, and Health . .31 Appendix A: Powers . .71 3: The Campaign . .33 Appendix B: Talents . .89 Karma . .33 Appendix C: Contacts . .92 Popularity and Contacts . .40 Character Shoot . .94 Resources . .40 Index . .95 Power Listing . .inside back cover Universal Table . .back cover This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein Is prohibited without the express written consent of TSR, Inc., and Marvel Comics Group. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. The names of characters herein are fictitious and do not refer to any persons living or dead. Any descriptions including similarities to persons living or dead are merely coincidental . All Marvel characters and the distinctive likenesses thereof are trademarks of the Marvel Comics Group, MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Comics Group, a division of Cadence Industries Corporation. -
Mascots on the Loose: the Pragmatics of Kawaii (Cute)
“AMATEUR” MASCOTS ON THE LOOSE: THE PRAGMATICS OF KAWAII (CUTE) by Mary Birkett Thesis Submitted for Anthropology Honors University of Michigan 2012 Advisors: Jennifer E. Robertson Erik Mueggler Birkett The Pragmatics of Kawaii (Cute) i ACKNOWLEDGEMENTS I hardly know whom to thank first. This thesis feels like it does not belong to me, but to the people below who supported and questioned me. I was lucky to have so many people who understood my thesis better than I did, who were willing to lend me their genius for even a few minutes, and who prodded me in exactly the right direction as I needed it. Thank you all. Stuart, I could not have written this thesis without you. You encouraged me when I was thinking of giving up; you listened to all my harebrained ideas and my griping, and you asked me all the questions I needed to consider. Your words transformed my thesis from a soggy mess into something coherent, and myself from an anxious mess into a curious researcher. Professor Robertson, thank you for sticking with me through all the twists and turns of my thesis. You always made yourself available, something that I at first could not comprehend. She wants me to talk to her? I kept wondering. You never let me get away with simplistic explanations and you always encouraged me to have confidence in my own research, that just because some person is published that doesn’t make what they say solid gold. Before having you as my advisor, I didn’t understand how important it was to see primary materials for myself, to examine not only the literature on my topic, but to read the people it cited and to think about how scholarship itself is produced.