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A Unified Platform for Big Trajectory Data Management and Analytics
UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan. -
2014 Annual Report to the Hawai‘I Legislature
2014 Annual Report to the Hawai‘i Legislature Table of Contents Letter from the Hawai‘i Tourism Authority ......................................................... 2–3 Board of Directors and HTA Staff .............................................................................. 4 Overview of the HTA and Operations ....................................................................... 5 Annual Work Cycle ....................................................................................................... 6 HTA Strategic Plan: Summary and Progress ........................................................... 7 HTA Measures of Effectiveness .............................................................................. 8–9 HTA Strategic Plan Update .........................................................................................10 HTA Brand Management ............................................................................................11 HTA Program Execution .............................................................................................12 Maintaining the Brand ................................................................................................13 Hawaiian Culture....................................................................................................14 Natural Resources .................................................................................................15 Career Development.............................................................................................. 16 Safety -
Campus Press April May 2019 Online Edition
C_ P7 C773: “Striving to Report the News Accurately, Fairly and Fully” TheTheThe Campus Press Student Newspaper of Camden County College www.camdencc.edu Volume 33, Issue 3 April/May 2019 THE EXPLORATION : Hundreds of Potential Students and Their Families Attend O Congratulations to the Class Open House on Saturday, April 6 to Receive Information museums, stores, and most importantly, about Admission and to Tour Blackwood Campus schools and colleges. of 2019...Plus An Early View making sure that the environment and all of of the U.S. Presidential Race us are safe: Public Safety Officers. We, as a college community, know the various hats By Louis Childs-O’Dowd that Public Safety wear: they take our Campus Press Managing Editor and Columnist pictures for our ID badges, keep everyone ’d like to start this column off with a safe, are ambassadors, help college congratulations to all the students who personnel and students with various needs, I managed to survive this year. I know for me, directions, parking, and placards. these last two semesters have been a true test of my commitment to actually finishing my degree. Public Safety Officer Came to the Aid So far it seems I passed that test, and I hope everyone else was able to as well. To the people things that they do. But did you know that graduating this semester, I’d like to congratulate they also help with lockouts of cars, and you, but to be honest, I’m jealous! You’re making dead batteries (or at least keep people warm large strides towards accomplishing your goals, while they wait for help and provide a and I find that to be enviable. -
(Revised0507)JAPAN BOOTH 2013 Cannes FIX
CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships. -
Catalogo-Festivaldorio-2015.Pdf
Sumário TABLE OF CONTENTS 012 APRESENTAÇÃO PRESENTATION 023 GALA DE ABERTURA OPENNING NIGHT GALA 025 GALA DE ENCERRAMENTO CLOSING NIGHT GALA 033 PREMIERE BRASIL PREMIERE BRASIL 079 PANORAMA GRANDES MESTRES PANORAMA: MASTERS 099 PANORAMA DO CINEMA MUNDIAL WORLD PANORAMA 2015 141 EXPECTATIVA 2015 EXPECTATIONS 2015 193 PREMIERE LATINA LATIN PREMIERE 213 MIDNIGHT MOVIES MIDNIGHT MOVIES 229 MIDNIGHT DOCS MIDNIGHT DOCS 245 FILME DOC FILM DOC 251 ITINERÁRIOS ÚNICOS UNIQUE ITINERARIES 267 FRONTEIRAS FRONTIERS 283 MEIO AMBIENTE THREATENED ENVIRONMENT 293 MOSTRA GERAÇÃO GENERATION 303 ORSON WELLS IN RIO ORSON WELLS IN RIO 317 STUDIO GHIBLI - A LOUCURA E OS SONHOS STUDIO GHIBLI - THE MADNESS AND THE DREAMS 329 LIÇÃO DE CINEMA COM HAL HARTLEY CINEMA LESSON WITH HAL HARTLEY 333 NOIR MEXICANO MEXICAN FILM NOIR 343 PERSONALIDADE FIPRESCI LATINO-AMERICANA DO ANO FIPRESCI’S LATIN AMERICAN PERSONALITY OF THE YEAR 349 PRÊMIO FELIX FELIX AWARD 357 HOMENAGEM A JYTTE JENSEN A TRIBUTE TO JYTTE JENSEN 361 FOX SEARCHLIGHT 20 ANOS FOX SEARCHLIGHT 20 YEARS 365 JÚRIS JURIES 369 CINE ENCONTRO CINE CHAT 373 RIOMARKET RIOMARKET 377 A ETERNA MAGIA DO CINEMA THE ETERNAL MAGIC OF CINEMA 383 PARCEIROS PARTNERS AND SUPPLIES 399 CRÉDITOS E AGRADECIMENTOS CREDITS AND AKNOWLEDGEMENTS 415 ÍNDICES INDEX CARIOCA DE CORPO E ALMA CARIOCA BODY AND SOUL Cidade que provoca encantamento ao olhar, o Rio Enchanting to look at, Rio de Janeiro will once de Janeiro estará mais uma vez no primeiro plano again take centre stage in world cinema do cinema mundial entre os dias 1º e 14 de ou- between the 1st and 14th of October. -
Ray X X-Rayer #131 January 30, 2017
Ray X X-Rayer #131 January 30, 2017 [email protected] http://x-rayer.com Ultra Q – Episode 27: The Disappearance of Flight 206 XR #131 Page 1 TAFFy Pull: Nominee John Purcell Draws In the Votes Welcome to SF fan alphabet soup. TAFF. CUFF. DUFF. GUFF. All three organizations raise funds so that science fiction fans can travel to conventions in other parts of the world. Three candidates are vying to win TAFF, Trans-Atlantic Fan Fund.* The TAFF 2017 Ballot explains: "TAFF has regularly brought North American fans to European conventions and European fans to North American conventions. It exists solely through the support of fandom." This year it's North America to Europe. Fanzine editor and 2017 TAFF nominee John Purcell took the time to explain how TAFF works. John is a Minnesotan transplanted to Texas. His day job: instructor at Blinn Community College. Hobbies: Besides SF fandom there's music, playing guitar. He publishes two fanzines with easily confused titles, Askew and Askance. (I know after writing a letter of comment to the wrong zine.) He explained a fan declares the intention to run for TAFF and then needs to line up other fans to nominate that fan. John: "TAFF requires a total of five nominators (two from the destination continent, three from the sending continent) to send in their nominating statements to the current TAFF Administrators." XR #131 Page 2 "Once the requirements are met," he continued, "the administrators then announce that the race is on and open it for any fan to vote until the deadline [this year March 4.]" A TAFF nominee can campaign through fanzines. -
“Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd
(Translation) April 24, 2018 To all parties concerned: FIELDS CORPORATION President and COO: Tetsuya Shigematsu (TSE 1st: 2767) Inquiries: Hideaki Hatanaka Corporate Officer; General Manager, Corporate Communications Office Tel.: +81-3-5784-2111 Notice of Winning Judgment In U.S. Lawsuit Regarding “Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd. FIELDS CORPORATION announces that in the copyright-related lawsuit that took place in the United States between our consolidated subsidiary Tsuburaya Productions Co., Ltd. (“TPC”) and UM Corporation (“UMC”), the United States District Court, Central District of California, entered a final judgment on April 18, 2018 affirming the entire claim of TPC, including that the supposed agreement dated March 4, 1976, claimed by UMC as the basis for its alleged rights in “Ultraman,” was not an authentic contract. In addition to confirming that TPC possesses all the rights to develop and expand any audio-visual or other creative works or products based on “Ultraman” characters or stories, the judgment required UMC to pay damages for its infringement of TPC’s rights as per the attached document. The impact of those damages upon the forecast consolidated results for the fiscal year ended March 31, 2018 will be insignificant and we are now examining the impact on the consolidated results for the fiscal year ending March 31, 2019. Following the results of the above lawsuit, TPC will promote active overseas development of “Ultraman” works in the future as a result of above lawsuit. For inquiries or further information please contact Corporate Communications Office, FIELDS CORPORATION Shibuya Garden Tower, 16-17 Nampeidai-cho, Shibuya-ku, Tokyo 150-0036 Tel.: +81-3-5784-2109 Fax: +81-3-5784-2119 April 24, 2018 Tsuburaya Productions Co., Ltd. -
Tokusatsu. I Telefilm Giapponesi Con Effetti Speciali
Tokusatsu. I telefilm giapponesi con effetti speciali. Tokutatsu è il primo saggio in Italia dedicato alla storia dei telefilm giapponesi con effetti speciali. Ve lo ricordate Megaloman? Introduciamo Tokutatsu. Chi è appassionato di manga, anime e film di mostri (i cosiddetti kaijū eiga) ha a disposizione un numero considerevole di pubblicazioni tra cui scegliere. C’è però un altro settore, non ancora adeguatamente considerato e studiato, che ha un’importanza altrettanto fondamentale. Sono i tokusatsu, i telefilm nipponici con effetti speciali di cui qualche esempio è arrivato anche in Italia durante i primi anni Ottanta. Si è trattato però solo della punta dell’iceberg di un fenomeno molto più ricco, articolato e complesso che meritava di essere approfondito. Il termine, che deriva dalla fusione delle parole tokushū (特殊) e satsuei (撮影) ossia “effetti speciali”, viene utilizzato per indicare un genere di serie televisive, spesso di argomento fantascientifico, in cui viene fatto abbondante uso di particolari espedienti cinematografici. Dal kabuki a Ultraman L’origine di queste produzioni risale ai primi esempi del teatro giapponese tradizionale, in particolare al kabuki e al bunraku. Dal primo questi telefilm hanno tratto ispirazione principalmente per le scene d’azione e di combattimento; dal secondo, invece, hanno mutuato tutta una serie di soluzioni tecniche artigianali che poi, ulteriormente sviluppate e raffinate, hanno dato origine a quel particolare mix in cui costumi sgargianti si sposano con esplosioni pirotecniche e modellini in scala di città, navi, aerei e mostri di vario genere. Analizzare la storia di questo tipo di produzioni significa intraprendere un lungo viaggio che inizia negli anni Cinquanta, con i primi supereroi mascherati emuli di Superman e Batman, per poi attraversare gli anni Sessanta, con la consacrazione di Eiji Tsuburaya a cui si deve la creazione di una lunga serie di personaggi che sono entrati nella storia del cinema e della televisione giapponese, Ultraman su tutti. -
ULTRAMAN GINGA (Season I: 11 X 30’, HD, 2013; Season II: 16 X 30’, HD, 2014)
ULTRAMAN GINGA (Season I: 11 x 30’, HD, 2013; Season II: 16 x 30’, HD, 2014) Live action TV series produced in celebration of the 50th anniversary of Tsuburaya Productions Story: Guided by a mysterious vision which appeared in his dream, 17 year old high school boy Hikaru returns to his hometown during summer vacation after travelling around with his musician parents. There he meets Ultraman Taro, the 53 meters tall super warrior but now reduced to the size of figurines called Spark Dolls by the dark force. Hikaru is told he is the “Selected One” and that he must find the Ginga Spark and use it with the Spark Doll to transform into the gigantic Ultraman Ginga to save the Earth. Two years after Ultraman Ginga wins the battle against Dark Lugiel, which ends Season I, Season II sees Hikaru coming back following the call of fate and transforms once again into Ultraman Ginga to join forces with a peer warrior Ultraman Victory to protect the civilization of an ancient underground world inhabited by people called Victoriens. More about the show: This latest TV show in the long running ULTRAMAN franchise (premiered on Japan’s TBS since 1966) has everything a kids hero show has: action, adventure, friendship, teamwork coupled with all the good values associated with the superhero: sense of justice, bravery, willingness to help people in stress, conscientious protection of environment, among many others. Aside from an action-packed hero show, Ultraman Ginga has a side story which revolves around a group of high school buddies of Hikaru the hero of the show. -
The Savage Worlds of Land of Light
The Savage Worlds of Land of Light An Ultraman Adventure By Mohd Syafiq bin Ibrahim 1 THIS MODULE REQUIRES THE SAVAGE WORLDS DELUXE EDITION TO PLAY! 1ST Edition – July 2013 More information can be found on author’s DeviantArt and Tumblr page at http://openlor.deviantart.com/ http://openlor.tumblr.com/ This game references the Savage Worlds game system. Available from and copyrighted to Pinnacle Entertainment Group at http://www.peginc.com/ Ultraman Tiga, Tiga universe, the rest of it’s known characters and designs are sole property of Eiji Tsuburaya from Tsuburaya Productions 2 CONTENTS Introduction.........................................................4 Setting Rule.........................................................5 Creating a Character.................................................6 Skills..............................................................13 Hindrances..........................................................14 Edges...............................................................15 Gears...............................................................16 Allies..............................................................22 Powers..............................................................22 Bestiary............................................................40 Playin Non-Ultra Characters.........................................61 Character sheet.....................................................63 Non-Playable Character Sheet........................................64 3 INTRODUCTIONS The Story take place million -
& Ultraman Brothers
ULTRAMAN MEBIUS & ULTRAMAN BROTHERS The lunar surface, 20 years ago: An intense battle rages between When the aliens launch their combined attack, the gigantic multi-tentacled monster U-Killer Saurus and four of the even Ultraman Mebius cannot defeat them. Can Ultraman Brothers; Ultraman, Ultra Seven, Ultraman Ace and the Ultraman Brothers regain their powers to Ultraman Jack. Though the battle is four against one, this monster help Mebius fight the aliens? Will the aliens is so powerful it threatens to overwhelm even the combined might succeed in their plans to revive U-Killer Saurus, of the Ultraman Brothers! a monster so terrifying its power rivals even the united strength of the Ultraman Brothers? The creature escapes to Earth and the Ultraman Brothers follow. There is only one way to stop this monster. The four Ultraman Tsuburaya Productions celebrates the 40th Brothers must use the Final Cross Shield to trap the beast forever Anniversary of Ultraman with the return of the most below the waters of Japan’s Kobe Bay. Unfortunately, in using this popular characters from the show’s long history for weapon, the heroes lose their super powers and will spend the rest the ultimate Ultraman adventure! It’s non-stop of their lives as ordinary human beings. action as the series’ greatest heroes battle its most fearsome villains. The original actors who played the In the present day, the young rookie Ultraman Mebius now protects human forms of the Ultraman Brothers reunite in a the Earth. Unknown to Ultraman Mebius, a group of evil aliens have spectacular tribute to one of the world’s longest arrived in Kobe with plans to release the monster U-Killer Saurus running science fiction adventure series. -
Characters and Merchandising Rights
Characters and Merchandising Rights ©2010 Collaborator: Asuka GOMI Patent Attorney, SHIROKUMA PATENT Hiroyuki NAKAGAWA Patent Attorney, Nakagawa International Patent Office Junichiro TSUCHIYA Senior Manager, Licensing Department Rights Division, Kodansha Ltd. CONTENTS Page Introduction ............................................................. 1 Chapter 1 Rights Composing Merchandising Rights ......................... 3 (1) Overview ........................................................... 3 (a) No rights called merchandising rights in place ................ 3 (b) Power to attract customers (customer-attraction power) ......... 4 (c) Rights included within merchandising rights .................... 6 (2) Content of various rights .......................................... 7 (a) Copyrights ..................................................... 8 (b) Design Act .................................................... 14 (c) Trademark Act ................................................. 16 (d) Unfair Competition Prevention Act ............................. 18 Chapter 2 Character Goods and Merchandising Rights ..................... 20 (1) History of merchandising rights ................................... 20 (2) Economic significance of merchandising rights ..................... 21 (a) Merchandising rights in the content-business .................. 21 (b) Merchandising rights to the mascot logo related to goods ...... 22 (c) Merchandising rights to industrial products ................... 22 (3) Merchandising rights and the media-mix strategy.................