Presenta Di MAMORU OSHII Con LANCE HENRIKSEN
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Voice Actor) Next Month Some Reviews, Pictures from ICFA and Wendee Lee (Faye, Cowboy Bebop) Maybe from Some Other Events
Volume 24 Number 10 Issue 292 March 2012 Events A WORD FROM THE EDITOR Megacon was fun but tiring. I got see some people I Knighttrokon really respect and admire. It felt bigger than last year. I heard March 3 from the Slacker and the Man podcast that the long lines from University of Central Florida Student Union previous Megacons were not there this year. Checkout the report $5 per person in this issue. Guests: Kyle Hebert (voice actor) Next month some reviews, pictures from ICFA and Wendee Lee (Faye, Cowboy Bebop) maybe from some other events. knightrokon.com Sun Coast: CGA show (gaming and comics) March 31 Tampa Bay Comic Con Charlotte Harbor Event and Conference Center March 3-4 75 Taylor Street Double Tree Hotel Punta Gorda, Florida 33950 4500 West Cypress Street $8 or $6 with a can of food per person Tampa, FL 33607 $15 per day ICFA 33 (professional conference) Guests: Jim Steranko (comic writer and artist) March 21-25 Mike Grell(comic writer and artist) Orlando Airport Marriott, Orlando, Florida and many more Guest of Honor: China Miéville www.tampabaycomiccon.com/ Guest of Honor: Kelly Link Guest Scholar: Jeffrey Cohen Anime Planet Special Guest Emeritus : Brain Aldiss March 16 www.iafa.org Seminole State College Heathrow Campus Heathrow, Florida 32746 The 2011Nebula Awards nominees $10 entry badge, $15 event pass (source Locus & SFWA website) Edwin Antionio Figueroa III (voice actor) The Science Fiction and Fantasy Writers of America announced theanimeplanet.com the nominees for the 2011 Nebula Awards (presented 2012), the nominees for the Ray Bradbury Award for Outstanding Dramatic Hatsumi Fair (anime) Presentation, and the nominees for the Andre Norton Award for March 17-18 Young Adult Science Fiction and Fantasy Book. -
Aniplex of America Announces English Dub for Season 2 of March Comes in Like a Lion and Hosts Open Auditions with Bang Zoom! Entertainment
FOR IMMEDIATE RELEASE May 18, 2018 Aniplex of America Announces English Dub for Season 2 of March comes in like a lion and Hosts Open Auditions with Bang Zoom! Entertainment © Chica Umino, HAKUSENSHA/March comes in like a lion Animation Committee Bang Zoom! Entertainment and Aniplex of America auditions aspiring voice actors at Anime Central as uplifting series is green-lit for a Season 2 English Dub SANTA MONICA, CA (May 18, 2018) – Attendees at Bang Zoom! Entertainment’s panel were thrilled as Aniplex of America announced their plans to produce the English dub of the second season for the heartfelt TV series March comes in like a lion at Anime Central in Rosemont, Illinois. The announcement also revealed that the Open Auditions hosted by both companies at Anime Central would be for the beloved, heartwarming series’ second season. Now in its sixth year, the Open Auditions provide a unique opportunity for fans to test out their skills as a voice actor and be in an anime series. The winner of the Open Auditions will be featured alongside the series’ phenomenal English voice cast including, Laura Post (KILL la KILL, Magi: The Kingdom of Magic), Kayli Mills (Fate/Apocrypha, Occultic;Nine), Xanthe Huynh (anohana –The Flower We Saw That Day-, Sword Art Online) and Kwoi Dao (Katsugeki Touken Ranbu) under the direction of English ADR Director and seasoned veteran, Wendee Lee (Cowboy Bebop, Blue Exorcist, Your lie in April). Each participant in the Open Auditions will receive a special March comes in like a lion button featuring one of the series’ iconic shogi cats, with past winners of the Open Auditions involved on the English dub for shows including Magi: The Labyrinth of Magic, Magi: The Kingdom of Magic, ALDNOAH.ZERO, Asterisk War, and Your lie in April. -
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PROYECTO DE GRADUACION Trabajo Final de Grado La animación sakuga en el anime japonés. Sus mayores exponentes y su evolución. Romina Maidana Cuerpo B del PG 09/09/13 Diseño de imagen y sonido Ensayo Nuevas tecnologías Agradecimientos: A los profesores Nicolás Sorrivas, Raquel Iznaola, Fernando Rolando, Andy Kesting, Adrián Guillot, Pablo Brand, Diego Hernandez Florescon, Beatriz Rizzo que me acompañaron a lo largo de estos años que cursé y lograron despertar en mí ésta curiosidad por las diferentes disciplinas que tiene la carrera. A mis padres que me apoyaron en todos estos años que estuve estudiando y son mis fans número uno. A Daniela Gauna que estuvo ayudándome desde el momento que arranque con este proyecto y me ayudo a corregir cada letra, punto y coma. A Matías por darme la idea de este proyecto y tenerme paciencia con este trabajo. A mis primos y amigos que siempre están para apoyarme y darme ánimos. 2 Índice Introducción……………………………………………………………………………....p.1 Capítulo 1: Un acercamiento a la animación.…………………………………………...p.8 1.1- Origen de la animación……………………………………………………..…....p.8 1.2- Procesos de animación……………………………………………………....…..p.11 1.3- Evolución de la animación sakuga……………...…………………………….…p.13 1.4- Las tres grandes productoras de anime…...…………………………….….…..p.17 Capítulo 2: Historia de la animación japonesa………………………..………………..p.20 2.1- Como comenzó todo……………………………………………………..………..p.20 2.2- La primera animación japonesa…………………………………………………p.22 2.3- Osamu Tezuka, el Dios del manga…………………………………….……….p.24 Capítulo 3: Animación……………………………………………………………………...p.28 -
Anime, Otaku Y Cintas De Vídeo: El Formato OVA Como Catalizador De La Complejidad Narrativa En La Animación Japonesa Contemporánea
Anime, otaku y cintas de vídeo: el formato OVA como catalizador de la complejidad narrativa en la animación japonesa contemporánea Resumen Antonio Loriguillo-López1 Doctor en Ciencias de la Comunicación En este artículo exploramos la condición de las OVA (las Universitat Jaume I ediciones domésticas de anime) como formato bisagra entre Castellón, España la madurez narrativa del anime en los setenta y la narración Correo electrónico: [email protected] compleja de los noventa en adelante. La metodología empleada orcid.org/0000-0003-3326-6844 parte del análisis narratológico inspirado por la poética histórica Google Scholar de los modos de narración realizada por David Bordwell. Así, atendiendo a las categorías de la cognoscibilidad, de la Recibido: octubre 23 de 2018 autoconsciencia y de la comunicabilidad, constatamos en los Aprobado: junio 13 de 2020 resultados y en las conclusiones que la presunta simplicidad narrativa atribuida al anime no es tal, y que las OVA analizadas —Twilight Q: Meikyū Bukken Fairu Go San Hachi (Mamoru Oshii, 1987), Gunbuster (H. Anno, 1988-89) y Otaku no Video (T. Mori, 1991)— se alzan como hitos clave para el asentamiento de otro tipo de narración en la industria de la animación japonesa contemporánea, uno que lejos de ser formulaico, tiene correspondencia con la estimulante experimentación narrativa Palabras clave: internacional de las llamadas puzzle films. anime, animación, narratología, OVA, vídeo doméstico. * El autor quiere hacer constar el apoyo de las fuentes de financiación de esta investigación: Conselleria d’Educació, Investigació, Cultura i Esport de la Generalitat Valenciana y Fondo Social Europeo de la Unión Europea (ref. APOSTD/2019/067). -
P38-40 Layout 1
lifestyle THURSDAY, APRIL 2, 2015 Music & Movies ‘Furious 7’ shows off sharp new Imax laser technology eeper blacks, brighter whites, even bigger to extend to 140 feet wide and utilize more of the screens and better sound. When the high- screen at the top and bottom, Gelfond says. The Dspeed action sequel “Furious 7” debuts this Chinese Theatre can now show Imax movies at a width weekend, audiences at Hollywood’s famous TCL of 96 feet, compared to 86 feet in the past, says theater Chinese Theatre will see every tire skid and fistfight in president Alwyn Hight Kushner. Imax’s brand-new laser format. Lasers are supposed to Larger screens means being able to fill bigger the- be able to heighten contrast. In laser-projected trailer aters with more seats and build even larger auditori- footage of “Furious 7” shown exclusively to The ums from scratch, says Gelfond. He hopes the better Associated Press, details were noticeably crisper than visual experience and 12-channel audio that Imax is images shown in a standard-sized auditorium with a rolling out with the laser upgrade will drive more regular digital projector. Deep blacks, one of the tout- moviegoers to want to see films in Imax, which typical- ed benefits of laser projection, stood out boldly, par- ly cost a few dollars more than standard movie tickets. ticularly in actress Michelle Rodriguez’s eyes and hair, a The laser system is expected to boost gross profits by suit worn by actor Jason Statham, Vin Diesel’s tank top, around $1 million this year, Gelfond told investors in black car paint and shadows in the grooves of tire October. -
Aniplex of America Set to Release Blue Exorcist the Movie in a Limited Edition Blu-Ray Box Set and DVD
FOR IMMEDIATE RELEASE September 28, 2013 Aniplex of America set to Release Blue Exorcist The Movie in a Limited Edition Blu-ray Box Set and DVD ©KAZUE KATO/SHUEISHA, Blue Exorcist The Movie 2012 ©KAZUE KATO/SHUEISHA *Artwork subject to change SANTA MONICA, CA (September 28, 2013) – At their recent industry panel at Anime Weekend Atlanta in Georgia, Aniplex of America Inc. announced its home video release plans for Blue Exorcist The Movie in North America on December 17th 2013. The Blue Exorcist series is an anime based on Kazue Kato’s hit manga published in Jump Square (by SHUEISHA) and it streamed on Hulu, crunchyroll, as well as on Neon Alley (English dub version). In response to its worldwide popularity, the movie was produced with an original story and released in North American theaters in August. The action-packed fantasy tale from animation studio A-1 Pictures (Sword Art Online, Magi: The Labyrinth of Magic) features plenty of breathtaking visuals throughout the film. Blue Exorcist The Movie made its US debut at Anime Expo in Los Angeles this past July. Blue Exorcist The Movie will be released in both a Limited Edition Blu-ray Box Set and DVD. Both SKUs will feature the original Japanese and English audio (5.1 surround sound). The Blu-ray Box Set will also include 2 Commentary Tracks by the creative staff and Japanese voice cast and promotional trailers. In addition, it will also include the feature film on a Blu-ray disc, a Bonus DVD featuring an Exclusive Staff Interview, a Deluxe Booklet, along with some Exclusive Illustration Postcards all encased in a rigid box illustrated by the original manga author Kazue Kato. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
It's Good to Be the King
ANIMERICA EXTREME CLOSE-UP otaku: (oh-TAH-koo) n. Term Th Ci 6 Th , used sl to fanatical devo- é OTLSCLETLCE O é tees of anime or manga. i ss a Japanese speakers mightuse this < 4 term in a pejorative sense to lenote someonelacking in social graces and breadth whois obsessive abouta certain subject. —The Complete Anime Guide Tonaka from OTAKU NO VIDEO (aka Toshio Okada) As MelBrooksoncesaid, “It's good to be the King.” In our exclusive four-part interview, ANIMERICA talks with Toshio Okada, the otaku of otaku...the Otaking! Join us for the royal saga of the rise andfall andrise again of super-studio Gainax and moreindustry buzz than Robert Altman’s THE PLAYER.Interview by Carl Gustav Horn Ys may know him through his animealter ego, “Tanaka,” in (1988), NADIA: THE SECRET OF BLUE WATER(1989), and OTAKU “YW OTAKU NOVIDEO. Butthereal-life man is hardly less of a char- NO VIDEO (1991). Conversant with English, Okada was oneof the key 4 acter—goingto college only so he could join a sciencefiction planners of AnimeCon ‘91, one of the first major U.S. conventions to be club, heformed a small group of fan amateurs into Daicon Film, which devoted entirely to anime. But in 1992 heresigned the presidency of amazed fanson both sides of the Pacific with their “garage video” Gainax and made his way to Tokyo University, where the former anime productions and superbattle-team live-action shorts. On dropout now lectures on multimedia. Returning to the U.S. for Otakon Christmas Eve, 1984,the former DaiconFilm group went pro as Studio 'n 1995, Toshio Okadagavehisfirst-ever interview to the English-lan- Gainax, the zealot heretics who made ROYALSPACE FORCE: THE guage animepress. -
Anime's Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and The
Manji 1 Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory A thesis Age submitted in fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Rufus C. Manji University of Canterbury 2020 Manji 2 Contents Table of Contents 1. Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory ........................................................................................ 1 1.1. Contents ........................................................................................................................ 2 1.2. Abstract ......................................................................................................................... 4 1.3. Acknowledgements ....................................................................................................... 6 2. Introduction .............................................................................................................. 7 3. Chapter 1: Superflat, Subculture, and National Trauma .........................................13 3.1. Takashi Murakami and superflat ................................................................................. 14 3.1.1. A genealogy of superflat subculture ........................................................................................ 20 3.1.2. Framing JNP: Japan’s Postmodern Condition ....................................................................... 32 3.1.3. The Database & Animalisation -
Anime's Atomic Legacy: Takashi Murakami, Miyazaki
Manji 1 Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory A thesis Age submitted in fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Rufus C. Manji University of Canterbury 2020 Manji 2 Contents Table of Contents 1. Anime’s Atomic Legacy: Takashi Murakami, Miyazaki, Anno, and the Negotiation of Japanese War Memory ........................................................................................ 1 1.1. Contents ........................................................................................................................ 2 1.2. Abstract ......................................................................................................................... 4 1.3. Acknowledgements ....................................................................................................... 6 2. Introduction .............................................................................................................. 7 3. Chapter 1: Superflat, Subculture, and National Trauma .........................................13 3.1. Takashi Murakami and superflat ................................................................................. 14 3.1.1. A genealogy of superflat subculture ........................................................................................ 20 3.1.2. Framing JNP: Japan’s Postmodern Condition ....................................................................... 32 3.1.3. The Database & Animalisation -
Mamoru Oshii Filmography
MAMORU OSHII FILMOGRAPHY Information about the projects in which Mamoru Oshii has been involved is given in the following order: English title; Japanese title (if different); release date (format); Oshii’s role in the project. In compiling this list, I am indebted to Makoto Noda’s book My Dear, Ma- moru Oshii (Zenryaku Oshii Mamoru-sama) and his website at http://www.ops.dti. ne.jp/~makoto99/hakobune/nenpyou/ Time Bokan Series: Yattaman Taimu bokan shiriizu: Yattaaman January 1977–January 1979 (108 TV episodes) Chief assistant director (second half), storyboards (2 episodes) One-Hit Kanta Ippatsu Kanta-kun September 1977–September 1978 (53 TV episodes) Storyboards (4 episodes), technical director (2 episodes) Magical Girl Tickle Majokko Chikkuru March 1978–January 1979 (45 TV episodes) Storyboards (1 episode) Science Ninja Team Gatchaman II Kagaku ninjatai Gatchaman II October 1978–September 1979 (52 TV episodes) Storyboards (3 episodes), technical director (3 episodes) Time Bokan Series: Zendaman Taimu bokan shiriizu: Zendaman February 1979–January 1980 (52 TV episodes) Storyboards (10 episodes), technical director (9 episodes), storyboard revisions (1 episode) Nils’s Mysterious Journey Nirusu no fushigina tabi 264 * MAMORU OSHII FILMOGRAPHY January 1980–March 1981 (52 TV episodes) Storyboards (11 episodes), technical director (18 episodes) Time Bokan Series: Time Patrol Team Otasukeman Taimu bokan shiriizu: taimu patorourutai Otasukeman February 1980–January 1981 (53 TV episodes) Storyboards (6 episodes) Time Bokan Series: Yattodetaman -
Bcsfazine #521
The Newsletter of the British Columbia Science Fiction Association #521 $3.00/Issue October 2016 In This Issue: This and Next Month in BCSFA..........................................0 About BCSFA.......................................................................0 Letters of Comment............................................................1 Calendar...............................................................................9 News-Like Matter..............................................................14 Excess Resolutions for 2016, #4.6 (Kathleen Moore).....20 Review: ‘How to Train Your Dragon’ (Michael Bertrand)....20 Art Credits..........................................................................22 BCSFAzine © October 2016, Volume 44, #10, Issue #521 is the monthly club news- letter published by the British Columbia Science Fiction Association, a social organ- ization. ISSN 1490-6406. Please send comments, suggestions, and/or submissions to Felicity Walker (the editor), at felicity4711@ gmail .com or Apartment 601, Manhattan Tower, 6611 Coo- ney Road, Richmond, BC, Canada, V6Y 4C5 (new address). BCSFAzine is distributed monthly at White Dwarf Books, 3715 West 10th Aven- ue, Vancouver, BC, V6R 2G5; telephone 604-228-8223; e-mail whitedwarf@ deadwrite.com. Single copies C$3.00/US$2.00 each. Cheques should be made pay- able to “West Coast Science Fiction Association (WCSFA).” This and Next Month in BCSFA Sunday 16 October at 7 PM: October BCSFA meeting—at Ray Seredin’s, 707 Hamilton Street (recreation room), New Westminster.