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La Notion ''D'habiter'' Ou Comment Aborder En Classe Les Spécificités
La notion ”d’habiter” ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation japonaise Audrey Jaux To cite this version: Audrey Jaux. La notion ”d’habiter” ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation japonaise. Education. 2017. hal-02386034 HAL Id: hal-02386034 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02386034 Submitted on 29 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Mémoire présenté pour l’obtention du Grade de MASTER “Métiers de l’Enseignement, de l’Education et de la Formation” Mention 1er Degré Professeur des Ecoles Sur le thème La notion « d’habiter », ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation Japonaise. Projet présenté par Audrey Jaux Directeur Professeur : Michel Vrac (Ecole supérieure du professorat et de l'éducation. ESPE Montjoux) Numéro CNU : 23 Année universitaire 2016-2017 1 Remerciements : A Michel VRAC pour la richesse de documentation qu’il m’a proposé et pour sa disponibilité et son aide. -
How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power
View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by University of Tasmania Open Access Repository 1 Wings and Freedom, Spirit and Self: How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power Shadow (BA Hons) 195408 Submitted in fulfilment of the requirements for the Degree of Masters of Journalism, Media and Communications University of Tasmania June, 2015 2 Declaration of Originality: This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. X Shadow Date: 6/10/2015 Authority of Access: This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. X Shadow Date: 6/10/2015 3 Declaration of Copy Editing: Professional copy was provided by Walter Leggett to amend issues with consistency, spelling and grammar. No other content was altered by Mr Leggett and editing was undertaken under the consent and recommendation of candidate’s supervisors. X Shadow Date: 6/10/2015 4 Contents Abstract ...................................................................................................................................... 7 CHAPTER 1 ............................................................................................................................. -
Tesis.Pdf (13.00Mb)
Programa de Doctorado en Ciencias Sociales y Jurídicas Escuela Internacional de Doctorado 2018 TESIS DOCTORAL Lidia Esteban López Sofia López Hernández, Mario Rajas Fernández y Eduardo Rodríguez Merchán Antonio Sánchez-Escalonilla García-Rico En el transcurso de los últimos dos años han fallecido dos apasionados de la música y el cine sin los que esta tesis hubiera sido completamente distinta. A uno de ellos nunca llegué a conocerlo, al menos no más allá de lo que uno puede conocer a alguien a través de su obra. Se trata de Isao Takahata, protagonista de las próximas páginas. Con el otro sí tuve la fortuna de coincidir. Eduardo Rodríguez Merchán, director inicial de este trabajo de investigación, me dijo que hablara de música, quiso que analizara las películas que más me gustaban (“si estás dispuesta a aprender japonés...”). Pero además fue espectador de mis conciertos, y compartió su sonrisa cálida y sus consejos cercanos en tardes de merienda y cine. No puedo por menos que agradecer enteramente esta tesis a un amigo. I. INTRODUCCIÓN ............................................................................ 1 1. Elección del tema de investigación ............................................ 1 2. Introducción a Studio Ghibli ...................................................... 5 3. Proceso de producción y conceptos básicos ............................ 11 II. METODOLOGÍA ........................................................................... 17 1. Objetivos ................................................................................ -
Cineclubuned 24.Pdf
Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07 -
LES ÉMOTIFS ANONYMES Un Film De Jean-Pierre Améris
SOUVENIRS DE MARNIE Un film réalisé par Hiromasa Yonebayashi produit par Yoshiaki Nishimura, Koji Hoshino, Studio Ghibli Durée 103 min. Sortie le 28 Janvier 2015 Dossier de presse: http://www.frenetic.ch/fr/espace-pro/details//++/id/1004 Relations presse Verleih Eric Bouzigon FRENETIC FILMS AG prochaine sa Bachstrasse 9 • 8038 Zürich Tel. 079 320 63 82 Tel. 044 488 44 00 • Fax 044 488 44 11 [email protected] www. Frenetic.ch L’HISTOIRE Anna, jeune fille solitaire, vit en ville avec ses parents adoptifs. Un été, elle est envoyée dans un petit village au nord d’Hokkaïdo. Dans une vieille demeure inhabitée, au cœur des marais, elle va se lier d’amitié avec l’étrange Marnie… NOTE D’INTENTION Par Hiromasa Yonebayashi, réalisateur et scénariste Il y a deux ans, Suzuki-san m’a conseillé de lire un livre intitulé When Marnie Was There. C’était un classique anglais de la littérature pour enfants qui figurait aussi sur la liste des lectures recommandées par Miyazaki-san. Suzuki-san m’a suggéré d’en faire une adaptation au cinéma. Je me suis d’abord dit qu’il serait difficile à adapter. J’ai beaucoup apprécié ma lecture, j’ai été ému par l’histoire, mais ce qui fonctionnait à la perfection en tant qu’œuvre littéraire me paraissait difficile à transcrire sous forme visuelle. Le livre tire sa force du dialogue entre Anna et Marnie. C’est à travers leurs conversations que l’on perçoit les variations des sentiments et de l’état d’esprit des personnages, et c’est là que se situe le plaisir du roman. -
The Kingdom of Dreams and Madness
A Film by Mami Sunada THE KINGDOM OF DREAMS AND MADNESS A look inside the fantastically mad world of the people behind Studio Ghibli PRESENTED BY Dwango IN COOPERATION WITH Studio Ghibli PRODUCED BY Nobuo Kawakami WRITTEN AND DIRECTED BY Mami Sunada MUSIC BY Masakatsu Takagi PRODUCTION COMPANY ENNET Technical Specification FORMAT Digital ASPECT RATIO 1920 x 1080 SOUND 5.1ch COLOR Color RUNNING TIME 118 minutes LANGUAGE Japanese with subtitles PRODUCTION YEAR 2013 COPYRIGHT NOTICE © 2013 dwango ABOUT THE FILM There have been numerous documentaries about Studio Ghibli made for television and for DVD features, but no one had ever conceived of making a theatrical documentary feature about the famed animation studio. That is precisely what filmmaker Mami Sunada set out to do in her first film since her acclaimed directorial debut, Death of a Japanese Salesman. With near-unfettered access inside the studio, Sunada follows the key personnel at Ghibli – director Hayao Miyazaki, producer Toshio Suzuki and the elusive “other” director, Isao Takahata – over the course of approximately one year as the studio rushes to complete their two highly anticipated new films, Miyazaki’s The Wind Rises and Takahata’s The Tale of The Princess Kaguya. The result is a rare glimpse into the inner workings of one of the most celebrated animation studios in the world, and a portrait of their dreams, passion and dedication that borders on madness. DIRECTOR: MAMI SUNADA Born in 1978, Mami Sunada studied documentary filmmaking while at Keio University before apprenticing as a director’s assistant under Hirokazu Kore-eda and others. -
City Sinks $17,000 Into Center St
75¢ Friday/ Saturday February 12-13, 2021 www.perrynewspapers.com $900,000 for more COVID assistance? Local residents and business owners could soon be able to apply for a share of some $900,000 in federal CARES Act funds to be distributed during a second phase of individual and small-business assistance programs administered by the Taylor County Commission. The programs are intended to help those affected by the ongoing coronavirus (COVID-19) outbreak and its economic impacts. Although the specific requirements are not yet available, they are expected to be less strict than the programs offered last year, which resulted in less than half of the individuals who applied receiving approval. The CARES Act programs will be on the agenda for the board to consider during the county commission’s ➟ Please see page 2 BBTC students receive $99,000 Barn fire Big Bend Technical College (BBTC) distributed Local EMT Will McLeod said he experienced one of the worst moments of his life Wednesday approximately $99,000 to all of its full-time and part- night when he heard an emergency call dispatching fire engines to a fire at his parent’s home time students Wednesday – the second round of direct on Grambling Lane. Fortunately, the fire was contained to a barn on the property and not the disbursements to students from the local school thanks to main residence. While no injuries were reported, the barn was declared a total loss. Taylor two separate CARES Act grants awarded to the school. County Fire-Rescue was dispatched to Danny and Michele McLeod’s home at 7:06 p.m., and “The Higher Education Emergency Relief Fund II arrived just six minutes later. -
The Red Turtle
The Red Turtle A film by Michael Dudok De Wit 80 min East Coast Publicity West Coast Publicity Distributor Jeff Hill Ziggy Kozlowski Sony Pictures Classics Carmelo Pirrone [email protected] Block Korenbrot 917-575-8808 6100 Wilshire Blvd Suite 170 Maya Anand 25 Madison Ave New York, Los Angeles, CA 90048 323-634-7001 tel NY 10010 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax THE RED TURTLE Filmmakers Original Story Michael Dudok de Wit Screenplay Michael Dudok de Wit Adaptation Pascale Ferran and Michael Dudok de Wit Design Michael Dudok de Wit Music Laurent Perez del Mar Artistic Producer Isao Takahata Animation Studio and Producers Prima Linea Productions Valérie Schermann and Christophe Jankovic Production Manager Tanguy Olivier 1st Assistant Director Jean-Pierre Bouchet Storyboard Michael Dudok de Wit Chief Animator Jean-Christophe Lie Assistant Chief Animator Marie Bouchet Layout Supervisor Eric Briche Background Supervisor Julien De Man Color Supervisor Emma McCann Shadow Animator Pascal Herbreteau Compositing Supervisors Jean-Pierre Bouchet and Arnaud Bois Special Effects Supervisor Mouloud Oussid Editor Céline Kélépikis Digital Grading Peter Bernaers Sound Supervisor Bruno Seznec Mix Fabien Devillers Sound Editor Mattieu Michaux Sound Design Alexandre Fleurant and Sébastien Marquilly Foley Artist Florian Fabre Sound Piste Rouge a Why Not Productions – Wild Bunch – Studio Ghibli – CN4 Productions – Arte France Cinema – Belvision Coproduction – with the support of Eurimages – with the participation of Canal+ – Ciné+ – Arte France – Region Poitou-Charentes – Departement de la Charente – Region Wallonne – Fondation Gan pour le cinema – in association with Cinemage 9 – Palatine Etoile 11 – Palatine Etoile 12 – BNP Paribas Fortis Film Finance SYNOPSIS Through the story of a man shipwrecked on a tropical island inhabited by turtles, crabs and birds, The Red Turtle recounts the milestones in the life of a human being. -
Not Even Past NOT EVEN PAST
The past is never dead. It's not even past NOT EVEN PAST Search the site ... Historical Perspectives on Isao Takahata’s Grave of Fire|ies (1998) Like 37 Tweet By David Conrad Grave of the Fireies (1988) is an uncompromising critique of Japanese society in the waning months of World War II, and a major milestone in the development of one of the world’s foremost animation studios. 1988 was a year of rsts for the young Studio Ghibli. In that year the studio’s creative leader, Hayao Miyazaki, directed My Neighbor Totoro, his rst lm set in historical Japan rather than in a fantasy world. The studio did not expect Totoro to be a nancial success, so it decided to package it with an adaptation of a wartime melodramatic novel titled Hotaru no Haka, or Grave of the Fireies. Fireies was the rst Ghibli lm neither written nor directed by Miyazaki. Instead it was helmed by longtime animator Isao Takahata, who would go on to direct several more adult-oriented anime for Ghibli. The studio’s expectations proved correct in the short term, but when Totoro aired on television it found its audience and became Ghibli’s rst breakout hit. It is known and loved internationally and its title character is now the studio’s iconic mascot. Fireies, Privacy - Terms meanwhile, is something of an anomaly. Though well-known to anime fans and highly esteemed by critics, it is one of the only Ghibli titles for which Disney is not the overseas distributor. Its DVD and Blu-Ray releases are of dubious quality, and it has been subjected to two different English language dubs despite the fact that, as a movie for adults, watching it in a language other than Japanese is as ridiculous as watching a dubbed Kurosawa or Ozu lm. -
From Albums to Images Studio Ghibli's Image Albums and Their Impact On
TRANS 16 (2012) ARTÍCULOS/ ARTICLES From Albums to Images Studio Ghibli’s Image Albums and their impact on audiovisual strategies Marco Bellano (Università degli Studi di Padova) Resumen Abstract Los compositores japoneses para películas de animación Japanese composers for animation are usually asked to write escriben música preliminar a partir de arte conceptual y preliminary music based on concept art and pre-production materiales de pre-producción. Esta música es editada en Cds materials. This music is released in CDs called image albums. llamados “image albums”. La existencia de “image albums” The existence of image albums influences the creation of influencia la creación de música de cine en la medida en que film music, as the composer is required to restrain se espera que el compositor encuentre la inspiración dentro inspiration within the boundaries of the preliminary music, de los confines de la música preliminar, escrita al margen de written without concern for audiovisual relationships. las relaciones audiovisuales. Por ello, la música en las Because of that, music in Japanese animation usually works películas japonesas de animación funciona normalmente as generic commentary to the moving images, without como un comentario genérico a las imágenes en detailed forms of interaction. Studio Ghibli composers, movimiento. Los compositores del Studio Ghibli han however, have found ways to define more complex encontrado, sin embargo, formas de definir funciones audiovisual functions by using processes of new audiovisuales más complejas -
From up on Poppy Hill
FRIDAY, MARCH 29, 2013 |CHICAGO SUN-TIMES | 9 ‘PoppyHill,’latestMiyazakiproject, adisappointment Collaborative effort ‘FROMUPONPOPPYHILL’ ★★½ lacks enchantment With the voices of: of past Ghibli films Umi ..........................................................Sarah Bolger BY ROGER EBERT Shun....................................................... Anton Yelchin FILM CRITIC Jmaru ......................................................Beau Bridges Suzaki .................................................Jamie LeeCurtis his wasaday Ididn’t see coming.The latest Hana ..................................................Gillian Anderson Tfilm from Japan’s Yoshio ........................................................ Bruce Dern Studio Ghibli, which sets the worldstandardfor anima- GKids presents afilm directed by Goro Miyazaki. Writ- tion, is adisappointment. ten by Hayao Miyazaki and KeikoNiwa, based on astory Directed by Goro Miyazaki, by Tetsuro Sayama, based on the manga by Chizuru in his first collaboration Takahashi. Running time: 91 minutes. Rated PG (for mild with his father,the legend- thematic elements and some incidental smoking images). ary Hayao,“From Up on Opening Friday at Landmark Century. PoppyHill” (2011) centers on two likable and perfectly straightforwardcollegestu- and decides it needs agood ian shape-shifters. The two dents whodonothing very scrubbing down. With her leadcharactersare standard extraordinary and areina friends she throwsout junk, bland figures, round-faced, platonic romance. TwoJapanese teens trytosave aneighborhood -
Tales from Earthsea)
EARTSEACOVER 28/8/06 15:22 Page 1 63° MOSTRA INTERNAZIONALE D’ARTE CINEMATOGRAFICA DI VENEZIA FUORI CONCORSO STUDIO GHIBLI PRESENTS GEDO SENKI (TALES FROM EARTHSEA) A FILM BY GORO MIYAZAKI A STUDIO GHIBLI PRODUCTION COLOUR / 1:1.85 (VISTA SIZE) / DLP CINEMA AVAILABLE DOLBY DIGITAL SURROUND EX / DTS-ES RUNNING TIME: 115 MINUTES JAPAN RELEASE: JULY 29, 2006 © 2006 NIBARIKI – GNDHDDT SYNOPSIS A ship is tossed on the rough sea. The captain Sparrowhawk learns that a wizard named Cob, in orders a weather-working magician to calm the his search for eternal life, has opened the door waves, but the man is unable to remember the true between the worlds of the Living and the Dead, name of the sea and the gale continues to rage. and that this transgression has triggered the Two dragons appear from the storm clouds and world’s imbalance. Once called Cob of Havnor, devour each other. For Western dragons to appear the magician is an old and previously defeated over the eastern ocean and feed on one another is adversary of Sparrowhawk’s who has sworn to an omen of something unthinkable. The balance of take a terrible revenge. the world is collapsing. Arren leaves Tenar’s farm, terrified that he can no Sparrowhawk (Ged) is on a quest, searching for longer control his violent ‘other self’. Fleeing his the evil source of the disturbances that are shaking Shadow, he is taken captive by the wizard, given the world. Once an impetuous goatherd, he is now the powerful drug hazia, and loses his mind..