ALIRG 2018 | Japan a Report on Ongoing Research Into the Modeling
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Anime's Media Mix: Franchising Toys and Characters in Japan
blo gs.lse.ac.uk http://blogs.lse.ac.uk/lsereviewofbooks/2013/01/12/book-review-animes-media-mix-franchising-toys-and-characters-in- japan/ Book Review: Anime’s Media Mix: Franchising Toys and Characters in Japan by blog admin January 12, 2013 In Anime’s Media Mix, author Marc Steinberg shows that anime is far more than a style of Japanese animation. Engaging with film, animation, and media studies, as well as analysis of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day. Casey Brienza finds this is a very flawed book but nevertheless, a very good one. Anime’s Media Mix: Franchising Toys and Characters in Japan. Marc Steinberg. University of Minnesota Press. 2012. Find this book: If you are a child—or the parent of a child—you probably recognize the bright yellow rodent able to shoot lightning bolts at its enemies. It is, of course, Pikachu, the ubiquitous of f icial mascot of the Pokémon multimedia f ranchise, a global juggernaut which includes video games, trading cards, televised cartoons, comic books, plush toys, and much, much more. However, Pikachu is f ar more than just a poster-child f or capitalist accumulation; it is, according to Marc Steinberg, a ‘character,’ the essential tie binding the disparate parts of the f ranchise together to each other and to consumers, as well as consumers to each other. The prolif eration of particular creative properties across multiple mediated platf orms has been called many things, with ‘synergy,’ ‘convergence,’ and ‘transmedia’ among the most popular in the west. -
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). -
Global Entertainment & Media Outlook 2018 –2022
Perspectives from the Global Entertainment & Media Outlook 2018–2022 Trending now: convergence, connections and trust www.pwc.com/outlook PwcOutlook18_042718_lj_FC-17-se_lj-ej_lj.indd 1 4/27/18 4:59 PM About this report Welcome to this year’s special report on when faith in many industries is at an the findings of our Global Entertainment historically low ebb and regulators are & Media Outlook. Every year we take a targeting media businesses’ use of data, deep dive into the data and analysis that the ability to build and sustain consumer our team of researchers and industry trust is becoming a vital differentiator. specialists have unearthed – with the aim of providing fresh perspectives and The result? To succeed in the future actionable insights. that’s taking shape, companies must reenvision every aspect of what they do Our comprehensive data and projections and how they do it. It’s about having, or on the 15 defined segments across 53 having access to, the right technology territories are just the start in creating and excellent content, which is delivered these insights. As in previous years, in a cost-effective manner to an engaged Ennèl van Eeden our authors have blended the data with audience that trusts the brand. For their own observations, experiences and those able to execute successfully, the examples to turn raw information into opportunities are legion. true intelligence. Writing this report was an exciting What’s trending now? It’s clear we’re in a and energising experience – and we rapidly evolving media ecosystem that’s hope these qualities shine through. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
Seven Seas Will Release Re:Monster As Single PRICE: $12.99 / $15.99 CAN
S E V E N S E A S Kanekiru Kogitsune Re:Monster Vol. 4 A young man begins life anew as a lowly goblin in this action-packed shonen fantasy manga! Tomokui Kanata has suffered an early death, but his adventures are far from over. He is reborn into a fantastical world of monsters and magic--but as a lowly goblin! Not about to let that stop him, the now renamed Rou uses his new physical prowess and his old memories to plow ahead in a world where consuming other creatures allows him to acquire their powers. KEY SELLING POINTS: * POPULAR MANGA SUBJECT: Powerful shonen-style artwork and ON-SALE DATE: 8/27/2019 fast-paced action scenes will appeal to fans of such fantasy series as Overlord ISBN-13: 9781626927100 and Sword Art Online. * SPECIAL FEATURES: Seven Seas will release Re:Monster as single PRICE: $12.99 / $15.99 CAN. volumes with at least two full-color illustrations in each book. PAGES: 180 * BASED ON LIGHT NOVEL: The official manga adaptation of the popular SPINE: 181MM H | 5IN W IN Re:Monster light novel. CTN COUNT: 42 * SERIES INFORMATION: Total number of volumes are currently unknown SETTING: FANTASY WORLD but will have a planned pub whenever new volumes are available in Japan. AUTHOR HOME: KANEKIRU KOGITSUNE - JAPAN; KOBAYAKAWA HARUYOSHI - JAPAN 2 S E V E N S E A S Strike Tanaka Servamp Vol. 12 The unique vampire action-drama continues! When a stray black cat named Kuro crosses Mahiru Shirota's path, the high school freshman's life will never be the same again. -
The Representation of a Multimedia Franchise As a Single Entity: Contrasting Existing Bibliographic Entities with Web-Based Superwork Portrayals
volume 28, issue 2, pages 40-57 (2018) The Representation of a Multimedia Franchise as a Single Entity: Contrasting Existing Bibliographic Entities With Web-Based Superwork Portrayals Senan Kiryakos and Shigeo Sugimoto Graduate School of Library, Information and Media Studies, University of Tsukuba, Japan [email protected]; [email protected] ABSTRACT Background. Multimedia franchises may have a single origin, but over time develop into a network of related creative works in various media formats such as film, novels, animation, and video games. A single entity to represent a whole franchise is often utilized on the Web, but the ability for existing bibliographic models to represent this entity, which we refer to as the Superwork, is unclear. Objective. This research sought to determine whether entities representing multimedia franchises and the relationships they contain can be accurately portrayed using current models and, if not, how a new entity can be differentiated from the entities in the existing models. It also examines the role of existing franchise-level concepts on the Web and their ability to define properties and boundaries. Methods. We contrasted the franchise-level concept against official documentation and past research into similar entities (i.e. FRBR Work and FRBROO Complex Work). A mapping and analysis of franchise articles on Wikipedia was performed to identify user-created boundaries and relationships between related instances. Results. The analysis revealed that the concept of a singular entity for a multimedia franchise was not the intended use for existing bibliographic entities, and that users will create such entities to collocate resources belonging to a single franchise. -
Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise
Crisis of Infinite Intertexts! Continuity as Adaptation in the Superman Multimedia Franchise Jack Peterson Teiwes ORCID identifier 0000-0001-8956-1602 Doctor of Philosophy November 2015 School of Culture and Communication The University of Melbourne Submitted in total fulfillment of the requirements of the PhD degree Produced on archival quality paper Abstract Since first appearing as a comic book character over three quarters of a century ago, Superman was not only the first superhero, spawning an entire genre of imitators, but also quickly became one of the most widely disseminated multi-media entertainment franchises. This achieved a degree of intergenerational cultural dissemination that far surpasses his comic book fandom. Yet despite an unprecedented degree of adaptation into other media from radio, newspaper strips, film serials, animation, feature films, video games and television, Superman’s ongoing comic books have remained in unbroken publication, developing a long and complex history of narrative renewal and reinvention. This thesis investigates the multifaceted intertextuality between the comic book portrayals of Superman and its many adaptations over the years, including how such retellings in other media have a generally stronger cultural impact, which exerts in turn an adaptive influence upon these continuing comics’ internalised narrative continuity. I shall argue that Superman comics, as a case study for the wider phenomenon in the superhero genre, demonstrate via their frequent revisions and relaunches of continuity, a process of deeply palimpsestuous self-adaptation. The Introduction positions my research methodology in relation to intertextual theory, with an emphasis on providing terminological clarity, while Chapter 1 expands into a literature review on pertinent key scholarship on adaptation studies and the comics studies field specifically. -
Aesthetic Evaluation in Tv
Jason Mittell Lost in a Great Story: Evaluation in Narrative Television (and Television Studies) Lost is a great television programme. Such a statement should be almost self-evident in a book dedicating hundreds of pages to exploring and analyzing a television programme. Lost’s numerous successes, in generating a worldwide fan base, spawning a multimedia franchise, and accumulating awards and critical accolades, should all point toward a consensus opinion about the show’s quality and value. If you’re a fan of the show, you almost certainly agree, as perceived greatness is a common, if not essential, rationale for fandom. But for the readers and writers within this book’s core genre of television studies, such an explicit assertion of evaluation and praise probably seems out of place, as evaluation is generally off-limits for television academics. For a typical instance, the preface to Jeremy Butler’s Television, probably the most in-depth overview of American television textuality, dismisses questions of evaluation in a few sentences: Television does not attempt to teach taste or aesthetics. It is less concerned with evaluation than with interpretation. It resists asking, ‘Is The O.C. great art?’ Instead, it poses the question, ‘What meanings does The O.C. signify and how does it do so?’1 Such distinctions between evaluating television programming and interpreting the processes of meaning-making frame virtually the entire field—we media scholars are heavily invested in understanding how meaning is made, conveyed, and consumed, but bracket off questions of evaluation as outside the scope of our expertise. It is not as if we completely avoid the act of judging in our scholarship, as we regularly evaluate television programmes on their political merits, their social relevance, their economic motives, their impacts on the television industry, or even their appeals to popular tastes. -
The Literacy Journey of Harry Potter: a Study in Versatile Sponsorship Via Multimedia
The Literacy Journey of Harry Potter: A Study in Versatile Sponsorship via Multimedia SAMANTHA GLASER Produced in Jacob Stewart’s Spring 2015 ENC 1102 Introduction Our literate lives are shaped by our many different experiences and encounters with writing, reading, and life in general. Some experiences have a large impact on our literate lives, such as our schooling and how it teaches us the basics of reading and writing, while other things seem to come and go, such as an assigned reading book from high school you hated to read and were forced to write essay about. However, sometimes something comes along that stays with you for your entire life, an inspiration about what you learn, how you learn, and what you do. It becomes something you love and connect to so much that you care about, learn and pursue it without pressure. For me, as well as many others in my generation and previous ones, this passion has been the major pop culture franchise: Harry Potter. This series boasts an amazing story in seven books, an eight film saga and two theme parks, allowing its millions of fans, young and old, worldwide, to truly enter its magical world. Now, why has a children’s book series about magic become such a strong factor in the literate lives of not only children, but adults, too? This very question is a subject of conversation for literacy researchers looking at every facet of the series to find what made it such a phenomenon for all ages. Through the conversations writers are having, I’ve come to see that the strength of this series is its versatility in what it teaches, how it teaches these things, and the wide range of people it can reach to teach these skills to (Beach and Willner 102-03; Radigan 694; Padak and Rasinski 350; Beaton 100-01; Nilsen and Nilsen 128-29). -
Music Across the Transmedial Frontier: Star Trek Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality
Summers, Tim. "Music across the Transmedial Frontier: Star Trek Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality. Ed. Michael Fuchs and Jeff Thoss. New York: Bloomsbury Academic, 2019. 207–230. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781501330520.ch-010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 07:43 UTC. Copyright © Michael Fuchs, Jeff Thoss and Contributors 2019. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 10 Music across the Transmedial Frontier: Star Trek Video Games Tim Summers n the fi rst two decades of the twenty- fi rst century, popular culture has I increasingly emphasized the multimedia franchise. Properties like Star Trek , Star Wars , and the Marvel Comics Universe extend across fi lm, television, video games, novels, comics, toys, and so on. Media consumers are now able to engage with their favorite characters, locations, and other franchise- distinguishing features in a variety of ways, through several different kinds of media. Viewers/readers/players follow the franchise, enjoying the interrelationships that are created across the textual galaxies. Such stories, characters and settings are transmedial in that they cross borders between different media, and traditional boundaries between media forms do not always hold fast or refl ect the audience’s experience of media engagement. 1 In this kind of multimedia network, music can illuminate the relationship between constituent texts of a transmedial franchise and may act as an agent for articulating and constructing those textual connections. -
Introduction Sporting Blackness and Critical Muscle Memory on Screen
Introduction Sporting Blackness and Critical Muscle Memory on Screen Yes, and the body has memory. The physical carriage hauls more than its weight. The body is the threshold across which each objectionable call passes into consciousness—all the unintimidated, unblinking, and unflappable resilience does not erase the moments lived through, even as we are eternally stupid or everlastingly optimistic, so ready to be inside, among, a part of the games. —claudia rankine, Citizen: An American Lyric In Citizen, Claudia Rankine poetically assesses the racial imaginary, detail- ing episodic transgressions, microaggressions, and violent acts that are endemic to Black quotidian experiences.1 Composed of prose-poetry, images from popular culture, and work from Black artists such as David Hammons, Glenn Ligon, and Carrie Mae Weems, Citizen is visually punctuated and “thematically unified—its question one of intimacy, its fabric the intersec- tion of social and personal realities, its bruising frame one of race.”2 Rankine reflects on tennis icon Serena Williams, who for many is the GOAT (Greatest [Athlete] of All Time). She examines Williams’s on-court rage—her fury and frustration over sporting and other slights—that has her stereotyped as an “angry Black woman,” among other racial tropes. Rankine calls attention to the overt racism and mocking Williams faced from officials, fans, and even her fellow tennis pro and friend Caroline Wozniacki. Williams, as well as her sister Venus, have been subject to an “ambivalent reception in the [white and wealthy] sporting world” of tennis because of their athletic dominance on the court, which has made them outliers as much as outsiders in the sport.3 As Nicole Fleetwood further explicates, their public treatment “uncovers a serious divide in how race, gender, and physical prowess are perceived by black fans of the sisters and the majority of white sports journalists and ten- nis fans.”4 White athletes are thought to embody tennis’s cultural and sport- ing norms. -
"Anne Rice for Kids" and Twilight for TV: Young Adult Media Franchising and the Vampire Diaries Megan Corinne Connor University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2015 "Anne Rice for Kids" and Twilight for TV: Young Adult Media Franchising and the Vampire Diaries Megan Corinne Connor University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Communication Commons, Gender and Sexuality Commons, and the Women's Studies Commons Recommended Citation Connor, Megan Corinne, ""Anne Rice for Kids" and Twilight for TV: Young Adult Media Franchising and the Vampire Diaries" (2015). Theses and Dissertations. 947. https://dc.uwm.edu/etd/947 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “ANNE RICE FOR KIDS” AND TWILIGHT FOR TV: YOUNG ADULT MEDIA FRANCHISING AND THE VAMPIRE DIARIES by Megan Connor A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in Media Studies at The University of Wisconsin-Milwaukee August 2015 ABSTRACT “ANNE RICE FOR KIDS” AND TWILIGHT FOR TV: YOUNG ADULT MEDIA FRANCHISING AND THE VAMPIRE DIARIES by Megan Connor The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Elana Levine This thesis examines The Vampire Diaries as representative of the contemporary state of feminized media franchises, especially those that address young women. The Vampire Diaries exists primarily as a book series and a television series, produced by Alloy Entertainment and The CW Network respectively. Alloy’s production of the franchise, and others like it, connects to the company’s history of feminized media production as a book packager, and is indicative of its current transmedia consumerist model.