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Japanese Immigration History
CULTURAL ANALYSIS OF THE EARLY JAPANESE IMMIGRATION TO THE UNITED STATES DURING MEIJI TO TAISHO ERA (1868–1926) By HOSOK O Bachelor of Arts in History Colorado State University Fort Collins, Colorado 2000 Master of Arts in History University of Central Oklahoma Edmond, Oklahoma 2002 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2010 © 2010, Hosok O ii CULTURAL ANALYSIS OF THE EARLY JAPANESE IMMIGRATION TO THE UNITED STATES DURING MEIJI TO TAISHO ERA (1868–1926) Dissertation Approved: Dr. Ronald A. Petrin Dissertation Adviser Dr. Michael F. Logan Dr. Yonglin Jiang Dr. R. Michael Bracy Dr. Jean Van Delinder Dr. Mark E. Payton Dean of the Graduate College iii ACKNOWLEDGMENTS For the completion of my dissertation, I would like to express my earnest appreciation to my advisor and mentor, Dr. Ronald A. Petrin for his dedicated supervision, encouragement, and great friendship. I would have been next to impossible to write this dissertation without Dr. Petrin’s continuous support and intellectual guidance. My sincere appreciation extends to my other committee members Dr. Michael Bracy, Dr. Michael F. Logan, and Dr. Yonglin Jiang, whose intelligent guidance, wholehearted encouragement, and friendship are invaluable. I also would like to make a special reference to Dr. Jean Van Delinder from the Department of Sociology who gave me inspiration for the immigration study. Furthermore, I would like to give my sincere appreciation to Dr. Xiaobing Li for his thorough assistance, encouragement, and friendship since the day I started working on my MA degree to the completion of my doctoral dissertation. -
Asia Policy Weekly
ASIA POLICY WEEKLY The Expert’s Resource APW News & Views May 4-10, 2003 1. JIAP NEWS ISSN 1543-1185 Vol. 7, No. 19 REPORT FROM TOKYO: WILL JAPAN’S ECONOMY IMPLODE? 14 Pages Wednesday, May 21, 2003 1) JIAP NEWS Donald Westmore (Executive Director, ACCJ) and Abby Pratt (External Affairs Manager, ACCJ) 2) MEMBER NEWS Time: 4:45 – 6:00 PM A discussion on the state of Japan’s economy and investment climate 3) CRITICAL REPORTS Location: The Law firm of Sidley Austin Brown & Wood LLP, th 4) OPINION, REPORTS & 1501 K Street, NW, 6 Floor, Washington, DC. (736-8000) STATEMENTS Registration: reservations necessary, 202-822-6040, [email protected] Fee: $10 for JIAP members, $20 Non-members 5) WEBSITE OF THE WEEK Contents: COVER STORIES, JAPAN: Japan Banking, Japan Business, Japan- Economy, Japan-Foreign Policy, Japan-Iraq, Japan-Politics, Japan-Security, Japan-Trade JAPAN 6) KEY & QUICK NEWS RELEVANT: China-Economy, China-Foreign Policy, China-Politics, China-SARS, Energy, LINKS Espionage Foreign Policy, Global Economy, Intellectual Property, Iran, Iraq Issues, Leadership, North Korea, Obituary, Piracy, South Korea, Science & Technology, Southeast Asia, Standards, Steel, Taiwan, Trade, US Economy. Contact If you have any comments/suggestions please contact Japan Information Access Project (JIAP) Asia Policy Calendar & Weekly Editors Ms. Mindy L. Kotler and Mr. Seth D. Drewry at (202) 822-6040, or [email protected] http://www.jiaponline.org About JIAP JIAP is a Washington-based nonprofit, membership research center studying Japanese and Northeast Asian science, technology, security and public policy. Established in 1991, the JIAP is a trusted member of the U.S. -
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen. -
16-18 October 2019 Shanghai New International Expo Center Message from CTJPA President
Visitor Guide E6 16-18 October 2019 Shanghai New International Expo Center Message from CTJPA President Dear participants, On behalf of China Toy & Juvenile Products Association (CTJPA), the organizer of China Toy Expo (CTE), China Kids Expo (CKE), China Preschool Expo (CPE) and China Licensing Expo (CLE), I would like to extend our warmest welcome to all of you and express our sincere thanks for all your support. Launched in 2002, the grand event has been the preferred platform for leading brands from around the world to present their newest products and innovations, connect with customers and acquire new sales leads. In 2019, the show will feature 2,508 global exhibitors, 4,859 worldwide brands, 100,000 professional visitors from 134 countries and regions, showcasing the latest products and most creative designs in 230,000 m² exhibition space. It is not only a platform to boost trade between thousands of Chinese suppliers and international buyers, but also an efficient gateway for international brands to tap into the Chinese market and benefit from the huge market potential. CTJPA has designed the fair as a stage to show how upgraded made-in-China will influence the global market and present worldwide innovative designs and advanced technologies in products. Moreover, above 1800 most influential domestic and international IPs will converge at this grand event to empower the licensing industry. IP owners are offered opportunities to meet with consumer goods manufacturers, agents and licensees from multi-industries to promote brands and expand licensing business in China and even Asia. Whether you are looking to spot trends, build partnerships, or secure brand rights for your products, we have the answer. -
Where You Can Discover Content from Different Regions of Japan
Where you can discover content from different regions of Japan Asia TV Forum & Market 2016 Contents 02 “REGIONS OF JAPAN” ‒ Who we are 16 Kyushu Asahi Broadcasting Co., Ltd. 03 Sapporo: City of Films 17 Fukuoka Broadcasting System corporation 04 Hokkaido Broadcasting Co.,Ltd. 18 Saga: A countryside of JAPAN 05 The Sapporo Television Broadcasting Co.,Ltd. 19 69'ners FILM 06 Hello Earth Inc. 20 Okinawa: Tropical Side of Japan 07 Niigata: Welcome to the Snow Country 21 Contact List 08 Niigata Sogo Television Co.,Ltd. 09 Television Niigata Network Co., Ltd. Sapporo 10 Niigata Television Network 21,Inc 11 Kyoto:‘OMOTENASHI’ is a word for KYOTO. Niigata 12 Kyoto Broadcasting System Co., Ltd. Kyoto 13 Mainichi Broadcasting System, Inc. Fukuoka Saga 14 Jupiter Telecommunications Co., Ltd. 15 Fukuoka: Compact and livable city, Fukuoka Okinawa The icons represent following genres Tra Travel Var Variety Food Food Kids Kids Edu Education Doc Documentary Dra Drama Ani Animation Film Film Clu Culture Sce Scenery Other Other Genre 01 “REGIONS OF JAPAN” ‒ Who we are The“REGIONS OF JAPAN” booth is organized by Screen Authority Sapporo (SAS) ; the official film commission to Sapporo City, Hokkaido. We are a showcase from which you can discover the charms from various regions of Japan. Each region has its own distinctive history, lifestyle and cuisine. We bring together 18 companies from 6 regions; Sapporo, Niigata, Kyoto, Fukuoka, Saga and Okinawa. The special feature of our booth is the diversity of regions and the cooperative work between public and private sectors. Not only will you find TV programs, films and animations, but you will also meet future co-productions partners and gateways to local governing bodies. -
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN). -
Investor Information 2016(4.7MB)
INVESTOR INFORMATION 2016 Connecting to the future Tokyo Broadcasting System Holdings, Inc. Consolidated Financial Highlights Net Sales Operating Income (Millions of Yen) (Millions of Yen) 354,338 346,538 352,351 347,817 348,539 17,179 16,188 15,696 15,728 12,162 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Ordinary Income Prot Attributable to Owners of Parent (Millions of Yen) 22,678 (Millions of Yen) 18,915 14,497 18,096 17,671 12,811 11,671 14,313 9,173 9,644 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Total Assets Total Net Assets (Millions of Yen) (Millions of Yen) 653,732 649,970 456,118 458,208 555,159 559,626 579,039 385,971 344,473 322,597 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Contents 2 To Our Stakeholders 13 Major Indices 3 At a Glance 15 Segment Information 4 Organization 17 TBS Television 5 Corporate Data 20 Financial Data of Major Group Companies 6 Business Report 22 TBS Networks 9 Consolidated Financial Statements Financial Figures The nancial gures used in this report are those used in the Japanese ”Tanshin,” which has been created in accordance with the provisions set forth in the Japanese Financial Instruments and Exchange Act. Thus, all gures have been rounded down to the nearest million yen. Forward-Looking Statements This report contains forward-looking statements based on management’s assumptions and beliefs in light of the information currently available. -
Japan Content Showcase2016 マーケットレポート
Market Report 2016 Focused on latest trends 18,330 participants conducted various business meetings PARTICIPANTs Japan Content Showcase is a leading multi-content market in Asia featuring music, films, TV and animation. JCS celebrated 5th anniversary in 2016 as a joint market with TIFFCOM (the affiliated market of Tokyo International Film Festival*1), Tokyo International Music Market (TIMM) and Tokyo International Anime Festival (TIAF) and highest recorded, 18,330 participants visited the market*2. In addition to many buyers and sellers, producers and other various professionals from different fields also attended JCS 2016. *1 The only film festival in Japan approved by the International Federation of Film Producers Associations *2 Excluding live showcase outside the market Breakdown of Participants' Profession Valid responses 3,139 : Buyer's VOICE PRODUCER's VOICE Buyer's VOICE Buyer(Acquisitions) 1,189 Film Commission Film Fund 5 1 / Mary Alana Gibson Pancha Charam.P NALLIAH Irene Lloren Seller 423 Talent Management 37 Digital Media Rights LLC / USA MALAYSIAN FILM PRODUCERS ASSOCIATION /Malaysia Primetrade Asia, Inc. / Philippines Producer 340 Legal Expert/Clerk 30 The market is pretty A well organized I think it is great nice bacause I can t i m e . B e c a u s e Content Creator 299 Public Relations/Journalist 25 focus more on the event. Bravo! Asian content and buyers can actually Marketing 2 1 2 Translator/Interpreter 23 Anime. There are lots cross over from of local companies Director 74 Government Agency/Embassy 20 music to film. It t h e U S h a s n eve r wo u l d b e g re a t Festival/Market 66 Publisher 1 8 worked with before and that is kind of o p p o r t u n i t y fo r Filmmaker 57 Other 223 important. -
Japan International Boat Show 2021 Exhibition Outline and Rules
Time on the Water – Where the Heart Runs Free Japan International Boat Show 2021 Exhibition Outline and Rules Event Outline Name: Japan International Boat Show 2021 Organizer: Japan Marine Industry Association (JMIA) Supporting Organizations (planned): Ministry of Land, Infrastructure, Transport and Tourism; Japan Coast Guard; Kanagawa Prefecture; Yokohama Port Agency ; U.S. Commercial Service (Tokyo); Port of Yokohama Promotion Association; Yokohama Convention & Visitors Bureau; The Yokohama Chamber of Commerce and Industry; NHK Yokohama Broadcasting Station; Kanagawa Shimbun; Television Kanagawa, Inc.; FM Yokohama Special Cooperation (planned): Yokohama Bayside Marina Co., Ltd.; Mitsui Outlet Park Yokohama Bayside; Japan Marine Recreation Association; KMC Corporation Cooperating Organizations (planned): Marine Sports Foundation; Japan Sailing Federation; Japan Used Boat Association; Japan Game Fish Association; Marine Journalists Conference; Kanto Boat Safety Association; UMI Conference; Umi-no-eki Network; Japan Sportfishing Foundation; Japan Fishing Tackle Manufacturers Association; Personal Watercraft Safety Association; Seabird Japan; Zushi-Hayama Community Broadcasting Inc. Dates: Four days from April 15 (Thu.) to 18 (Sun.), 2021 Exhibitor booth/display installation and setup days: Floating displays (April 13–14), on-land tent booths (April 14) Exhibitor booth/display removal day: On-land tent booths (April 18, after 17:00), floating displays (April 19) Open hours: April 15 (Thu.) 11:00–17:00 (Opening ceremony from 10:00) April 16 (Fri.) 10:00–17:00 April 17 (Sat.) 10:00–17:00 April 18 (Sun.) 10:00–17:00 Venue: Special display area at the Yokohama Bayside Marina (on-land and floating displays) Pier area admission: 1,000 JPY (Free for Junior High School and under) *However, children without an adult guardian will not be allowed to enter. -
Found in Translation: Evolving Approaches for the Localization of Japanese Video Games
arts Article Found in Translation: Evolving Approaches for the Localization of Japanese Video Games Carme Mangiron Department of Translation, Interpreting and East Asian Studies, Universitat Autònoma de Barcelona, 08193 Bellaterra, Barcelona, Spain; [email protected] Abstract: Japanese video games have entertained players around the world and played an important role in the video game industry since its origins. In order to export Japanese games overseas, they need to be localized, i.e., they need to be technically, linguistically, and culturally adapted for the territories where they will be sold. This article hopes to shed light onto the current localization practices for Japanese games, their reception in North America, and how users’ feedback can con- tribute to fine-tuning localization strategies. After briefly defining what game localization entails, an overview of the localization practices followed by Japanese developers and publishers is provided. Next, the paper presents three brief case studies of the strategies applied to the localization into English of three renowned Japanese video game sagas set in Japan: Persona (1996–present), Phoenix Wright: Ace Attorney (2005–present), and Yakuza (2005–present). The objective of the paper is to analyze how localization practices for these series have evolved over time by looking at industry perspectives on localization, as well as the target market expectations, in order to examine how the dialogue between industry and consumers occurs. Special attention is given to how players’ feedback impacted on localization practices. A descriptive, participant-oriented, and documentary approach was used to collect information from specialized websites, blogs, and forums regarding localization strategies and the reception of the localized English versions. -
"Introducing Studio Ghibli's Monster Princess: from Mononokehime To
Denison, Rayna. "Introducing Studio Ghibli’s Monster Princess: From Mononokehime to Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 1–20. Bloomsbury Collections. Web. 6 Oct. 2021. <http://dx.doi.org/10.5040/9781501329753-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 6 October 2021, 08:10 UTC. Copyright © Rayna Denison 2018. 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. 1 I NTRODUCING STUDIO GHIBLI’S MONSTER PRINCESS: FROM M ONONOKEHIME TO P RINCESS MONONOKE Rayna Denison When it came out in 1997, Hayao Miyazaki’s Mononokehime ( Princess Mononoke ) was a new kind of anime fi lm. It broke long- standing Japanese box offi ce records that had been set by Hollywood fi lms, and in becoming a blockbuster- sized hit Mononokehime demonstrated the commercial power of anime in Japan.1 F u r t h e r , Mononokehime became the fi rst of Miyazaki’s fi lms to benefi t from a ‘global’ release thanks to a new distribution deal between Disney and Tokuma shoten, then the parent company for Miyazaki’s Studio Ghibli. As a result of this deal, Mononokehime was transformed through translation: US star voices replaced those of Japanese actors, a new market- ing campaign reframed the fi lm for US audiences and famous fantasy author Neil Gaiman undertook a localization project to turn Mononokehime into Princess Mononoke (1999). 2 A s Princess Mononoke, it was the fi rst Miyazaki fi lm to receive a signifi cant cinematic release in the United States. -
Hayao Miyazaki and His Anime Movies
Hayao Miyazaki And His Anime Movies Radin-Mačukat, Lucija Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:982522 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-30 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Lucija Radin-Mačukat Hayao Miyazaki And His Anime Movies Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Hayao Miyazaki And His Anime Movies Završni rad Student/ica: Mentor/ica: Lucija Radin-Mačukat Dr.sc. Mario Vrbančić Zadar, 2018. Izjava o akademskoj čestitosti Ja, Lucija Radin-Mačukat, ovime izjavljujem da je moj završni rad pod naslovom Hayao Miyazaki And His Anime Movies rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 2018. Radin – Mačukat 4 Table of contents: 1. Introduction ………………………………………………………………………………..7 2. What is anime? ………………………………………………………………………….....8 3. Anime genres ……………………………………………………………………………...12 3.1. Action ………………………………………………………………………………….12 3.2. Adventure ……………………………………………………………………………...12 3.3.