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O(S) Fã(S) Da Cultura Pop Japonesa E a Prática De Scanlation No Brasil
UNIVERSIDADE TUIUTI DO PARANÁ Giovana Santana Carlos O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL CURITIBA 2011 GIOVANA SANTANA CARLOS O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL Dissertação apresentada no Programa de Mestrado em Comunicação e Linguagens na Universidade Tuiuti do Paraná, na Linha Estratégias Midiáticas e Práticas Comunicacionais, como requisito parcial para obtenção do título de Mestre, sob orientação do Prof. Dr. Francisco Menezes Martins. CURITIBA 2011 2 TERMO DE APROVAÇÃO Giovana Santana Carlos O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL Esta dissertação foi julgada e aprovada para a obtenção do título de Mestre em Comunicação e Linguagens no Programa de Pós-graduação em Comunicação e Linguagens da Universidade Tuiuti do Paraná. Curitiba, 27 de maio de 2011. Programa de pós-graduação em Comunicação e Linguagens Universidade Tuiuti do Paraná Orientador: Prof. Dr. Francisco Menezes Martins Universidade Tuiuti do Paraná Prof. Dr. Carlos Alberto Machado Universidade Estadual do Paraná Prof. Dr. Álvaro Larangeira Universidade Tuiuti do Paraná 3 AGRADECIMENTOS Aos meus pais, Carmen Dolores Santana Carlos e Vilson Antonio Carlos, e à Leda dos Santos, por me apoiarem durante esta pesquisa; À minha irmã, Vivian Santana Carlos, por ter me apresentado a cultura pop japonesa por primeiro e por dar conselhos e ajuda quando necessário; Aos professores Dr. Álvaro Larangeira e Dr. Carlos Machado por terem acompanhado desde o início o desenvolvimento deste trabalho, melhorando-o através de sugestões e correções. À professora Dr.ª Adriana Amaral, a qual inicialmente foi orientadora deste projeto, por acreditar em seu objetivo e auxiliar em sua estruturação. -
Popular Culture Resources for Educators, Librarians, Parents, and Fans
Popular Culture Resources for Educators, Librarians, Parents, and Fans 2nd Edition By Elizabeth Vondran and Jazmine Martin Edited by J. Holder Bennett Suggested citation: Vondran, Elizabeth, and Jazmine Martin. Popular Culture Resources for Educators, Librarians, Parents, and Fans. 2nd ed. Ed. J. Holder Bennett. Denton, TX: Fandom and Neomedia Studies (FANS) Association, 2013. The FANS Association takes no position on the accuracy or content of the individual documents cited within this bibliography; accordingly, all views expressed therein should be understood to be those of the individual authors. This document is an open access publication free for all to use under the terms of Creative Commons Attribution Non-Commercial 3.0 Unported License. © Fandom and Neomedia Studies (FANS) Association, 2013. All rights reserved. Fandom and Neomedia Studies Association Phoenix Entertainment Group, LLC PO Box 298 Denton, Texas 76202 1 | P a g e Contents Foreword ......................................................................................................................................... 3 Books ……………………………………………………………………………………………..5 Book Chapters ............................................................................................................................... 83 Articles .......................................................................................................................................... 88 Dissertations and Theses ............................................................................................................ -
GAME NAME 1941 1942 1943 1944 102 Dalmatians 3D 1941J Set1
GAME NAME 1941 1942 1943 1944 102 Dalmatians 3D 1941j set1 1941j set2 1942h 1943b 1943Kai 1944j 19XX 19xxj 2020 Super Baseball 3 Count Bout 3 Count Bout 3 Ninjas Kick Back 3stooges 3x3 Eyes-Juuma Houkan 4 Fun in 1 4 Fun in 1 40love 4-D Warriors 4-D Warriors 4-nin Shougi 64Th Street 64Th Street 6-Pak 76 in 1 88games 8ballac 90 Tank 96ZenkokuKoukouSoccerSenshuken Aaahh! Real Monsters AAAHH!!! Real Monsters Aburner2 Ace wo Nerae Acrobat Mission Acrobat Mission Acrobat Mission Act-Fancer Actfancrj Actfancrj Action 52 Action bass 3D Action Fighter Action Fighter Action Pachio ActRaiser ActRaiser 2 Addams Family Addams Family(USA) Adventures of Batman-Robin Adventures of TomSawyer Adventures of Yogi Bear Adventurous Boy-MaoXianXiaoZi Aero Blasters Aero Fighters Aero Fighters (USA) Aero Fighters 2 Aero Fighters 3 Aero the Acro-Bat Aero the Acro-Bat (USA) Aero the Acro-Bat 2 Aero the Acro-Bat 2 (USA) Aerobiz (USA) Aerobiz Supersonic (USA) After Burner II Aguri Suzuki F1 SuperDriving Air Attack Air Buster Air Buster: Trouble Specialty Raid Unit Air Cavalry Air Gallet Air galletj set1 Air galletj set2 Airbustrj Airbustrj Airduel Airwolf Ajax Akumajou Dracula Akumajou Dracula XX Albert Odyssey Albert Odyssey 2 ALCAHEST Alex Kidd Alex Kidd Alex Kidd in the Enchanted Castle Alfred Chicken Ali Baba and 40 Thieves Alice no Paint Adventure Alien 3 Alien Soldier Alien Storm Alien Storm 2 Alien Storm 2 Alien Syndrome Alien Syndrome Alien vs Predator Alien Vs. Predator Alien Vs. Predator (3P) Alienchac Aliens Aliens Aliens Aliens vs Predator (Japan) Alisia -
9781517904029.Pdf
Interpreting Anime This page intentionally left blank Interpreting Anime Christopher Bolton University of Minnesota Press Minneapolis London An earlier version of chapter 1 was previously published as “From Ground Zero to Degree Zero: Akira from Origin to Oblivion,” Mechademia 9 (Minneapolis: University of Minnesota Press, 2014), 295–315. An earlier version of chapter 2 was previously published as “The Mecha’s Blind Spot: Patlabor 2 and the Phenomenology of Anime,” Science Fiction Studies 29, no. 3 (November 2002): 453– 74, and in Robot Ghosts and Wired Dreams: Japanese Science Fictions from Origins to Anime, ed. Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi (Minneapolis: University of Minnesota Press, 2007), 123– 47. An earlier version of chapter 3 was pre- viously published as “From Wooden Cyborgs to Celluloid Souls: Mechanical Bodies in Anime and Japanese Puppet Theater,” positions: east asia cul- tures critique 10, no. 3 (Winter 2002): 729–71. An earlier version of chap- ter 4 was previously published as “Anime Horror and Its Audience: 3x3 Eyes and Vampire Princess Miyu,” in Japanese Horror Cinema, ed. Jay McRoy (Edinburgh: Edinburgh University Press, 2005), 66– 76. An earlier version of chapter 6 was previously published as “The Quick and the Undead: Visual and Political Dynamics in Blood: The Last Vampire,” Mechademia 2 (Minneapolis: University of Minnesota Press, 2007), 125– 42. Copyright 2018 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior writ- ten permission of the publisher. -
Sean Leonard4
MIT Japan Program Working Paper 04.02 Progress Against the Law: Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation Sean Leonard Massachusetts Institute of Technology Abstract The medium of Japanese animation is a powerhouse in the world of alternative entertainment. Proselytization by fans ignited the anime movement in America, despite Japanese copyright holders’ abandonment of the American market. The author presents an historical and legal analysis to demonstrate that, at least in one case spanning two decades, fans’ continual infringement of copyright spurred the progress of commerce and the arts. 1 MIT Japan Program Working Paper Series 04.02 Center for International Studies Massachusetts Institute of Technology Room E38-7th Floor Cambridge, MA 02139 Phone: 617-252-1483 Fax: 617-258-7432 Date of Publication: November 2, 2004 © Sean Leonard 2 Table of Contents 1. Introduction 7 2. Anime and Its Fandom: A Primer for Non-Fans 9 2.1. Anime 9 2.2. Fan Distribution 10 2.3. Fansub 10 3. Historical Analysis of Fan Distribution and Subtitling 12 3.1. Pre-Fan Period 12 3.2. Technology Change; Cartoon/Fantasy Organization 13 3.3. Japanese Enter and Abandon the Market 16 3.4. Fan Activity Increases 19 3.5. Anime Importers Fail to Release Quality Material 23 3.5.1. The Robotech Exception and the Second Wave 25 3.6. C/FO at Its Height; C/FO in Japan 27 3.7. C/FO Fan Distribution 29 3.7.1. Fan Networks as Proselytization Commons 32 3.8. Birth of Fansubbing; Collapse of C/FO 33 3.9. -
Capitulos Peliculas Ovas Formato 2 × 2 Shinobu-Den 12 Avi 3 X 3 Ojos 7
SERIES Capitulos Peliculas Ovas Formato 2 × 2 Shinobu-den 12 avi 3 x 3 Ojos 7 Divx Aa! Megami-sama? (2 Temp) 52 1 8 avi y Divx Aa! Megami-sama! Chitchai tte koto wa benri da ne 48 avi Abenobashi 12 avi Afro Samurai 5 Divx Aishiteruze Baby 26 mp4 Air Gear 25 avi Air Master 27 avi AIR TV 13 1 2 avi Ai Yori Aoshi (2 Temp) 26 avi Akira 1 avi Amaenaideyo!! (2 Temp) 26 avi Angel Sanctuary 3 DVD Angelic Layer 26 avi Agent Aika 7 avi Aquarian Age 13 avi Arc the lad 26 avi Area 88 12 3 avi Argento Soma 25 avi Asatte no Houkou 12 avi Avatar (2 Libros) 40 avi Avenger 13 avi Ayakashi 11 avi Ayashi no Ceres 24 avi Azumanga Daioh 26 avi Baccano 13 mp4 Bakuretsu Tenshi (Burst Angel) 26 Mkv Bartender 11 avi Basilisk 26 avi Bastard!! 6 Divx Battle Angel Alita 1 avi Battle Programmer Shirase 15 avi Beck 26 avi Berserk 25 Divx Bible Black 14 avi Binbou Shinai Manogatari 10 avi Black Blood Brothers 12 avi Black Cat 23 avi Black Lagoon (2 Temp) 24 avi Blame 7 mp4 Bleach 164/? 1 2 avi Blood+ 50 1 avi Blue Dragon 20/? Divx Blue Gender 26 avi Blue Seed 26 DVD Bokura Ga Ita 26 mp4 Bokurano 24 mp4 Bokusatsu Tenshi Dokuro-chan 4 avi Boogiepop Phantom 12 avi Bottle Fairy 10 avi Bouken ou Beet 52 avi Boys Be 12 avi Bt'x (2 Temp) 39 avi Bubblegum Crisis Tokyo 2040 26 DVD Burn Up (3 Temp) 24 4 Mp4 y avi Busou Renkin 26 avi Buzzer Beater 13 avi Candidate for Goddess 11 1 avi Candy Candy 115 1 avi Canvas 24 2 avi Capitan Tsubasa Road 2002 52 avi Card Captor Sakura 70 avi Cat Soup 1 avi Chitchana Yukitsukai Shugā 24 2 mp4 Chobits 26 2 Divx Chrno Crusade 24 avi Cindrella -
All You Need Is Kill - Graphic Novel Pdf
FREE ALL YOU NEED IS KILL - GRAPHIC NOVEL PDF Hiroshi Sakurazaka,Lee Ferguson,Nick Mamatas | 96 pages | 08 May 2014 | Viz Media, Subs. of Shogakukan Inc | 9781421560816 | English | San Francisco, United States VIZ | The Official Website for All You Need Is Kill Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Hiroshi Sakurazaka Original Author. Lee Ferguson Illustrations. When the alien Mimics invade, Keiji Kiriya is just one of many recruits shoved into a suit of battle armor called a Jacket and sent out to kill. Keiji dies on the battlefield, only to be reborn each morning to fight and die again and again. On his th iteration, he gets a message from a mysterious ally--the female soldier known as the Full Metal Bitch. Is she the key to When the alien Mimics invade, Keiji Kiriya is just one of many recruits shoved into a suit of battle armor called a Jacket and sent out to kill. Is she the key to Keiji's escape or his final death? Now a major motion picture starring Tom Cruise! Get A Copy. Paperback96 pages. More Details Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. I was wondering if we could read the Flashpoint series from DC Comics? It consists of a total of five comic books and could be easily read in an hour. -
Whiteness, Japanese-Ness, and Resistance in Sūkyō Mahikari in the Brazilian Amazon S
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Raça, Jinshu, Race: Whiteness, Japanese-ness, and Resistance in Sūkyō Mahikari in the Brazilian Amazon Moana Luri de Almeida University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Critical and Cultural Studies Commons, Ethics in Religion Commons, Ethnic Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, History of Religions of Eastern Origins Commons, and the International and Intercultural Communication Commons Recommended Citation de Almeida, Moana Luri, "Raça, Jinshu, Race: Whiteness, Japanese-ness, and Resistance in Sūkyō Mahikari in the Brazilian Amazon" (2018). Electronic Theses and Dissertations. 1428. https://digitalcommons.du.edu/etd/1428 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. RAÇA, JINSHU, RACE: WHITENESS, JAPANESE-NESS, AND RESISTANCE IN SŪKYŌ MAHIKARI IN THE BRAZILIAN AMAZON __________ A Dissertation Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Moana Luri de Almeida June 2018 Advisor: Christina R. Foust ©Copyright by Moana Luri de Almeida 2018 All Rights Reserved Author: Moana Luri de Almeida Title: RAÇA, JINSHU, RACE: WHITENESS, JAPANESE-NESS, AND RESISTANCE IN SŪKYŌ MAHIKARI IN THE BRAZILIAN AMAZON Advisor: Christina R. Foust Degree Date: June 2018 Abstract This dissertation presented an analysis of how leaders and adherents of a Japanese religion called Sūkyō Mahikari understand and interpret jinshu (race) and hito (person) in a particular way, and how this ideology is practiced in the city of Belém, in the Brazilian Amazon. -
Abstract Political Science Fuller, Frank R. B.A
ABSTRACT POLITICAL SCIENCE FULLER, FRANK R. B.A. OGLETHORPE U1JIVERSITY, 2000 M.S. GEORGIA INSTITUTE OF TECHNOLOGY, 2001 THE ATOMIC BOMB: REFLECTIONS IN JAPANESE MANGA AND ANIME Committee Chair: Robert B. DeJanes, Ph.D. Dissertation dated May 2012 This study examines post-World War II “anime” and manga based on the bomb’s after-effects and changes in Japanese mindsets resulting from the War, especially as inspired by Osamu Tezuka and later artists influenced by his works. This study theorized that Japanese political culture elements, through particular plotlines, could be traced in manga and anime themes carrying hidden messages repeatedly referencing the bomb’s effects on Japan, citing Tezuka’s influence, in the 1945-65 and 1985-95 periods, in the post-apocalyptic, science fiction, and fantasy genres. Case studies were used to qualitatively assess data for historical evidence of Tezuka’s influence across specific genres, from scholarly studies and reviews of manga. comics, and related media. Evidence ofTezuka-inspired themes, such as hope out of endless devastation (the phoenix analogy) and man’s destructive obsession with technology by conquering nature (dependent variables), were analyzed from a comparativist, historical viewpoint, as influenced by atomic bomb-related themes. The researcher explains the Japanese fascination with technology and why many anime show status quo disagreements. Japan absorbed trauma from the bomb, was invaded by foreigners, and faced a complete overhaul. Post-war, the economy grew rapidly, but Japan must reduce rigidity and social conformity. The Japanese are aware of the US role in their dual defense arrangement; Japan felt discomfort as a junior-partner in the 1950s-60s. -
Western Audiences and Japanese Animation
APPENDIX THE FIFTH LOOK: WESTERN AUDIENCES AND JAPANESE ANIMATION For more and more cultural critics and historians, the absolutely crucial question has become not “what do texts mean?” but rather, “who are these meanings available to?” and, related to this, “how does meaning vary from audience to audience?” —Eric Smoodin, Disney Discourse ANIME IN GLOBAL CULTURE I enjoy being part of a group that’s not mainstream: i.e. that’s slightly on the edge. I’ve always seemed to have followed my own 240 ✱ ANIME FROM AKIRATO PRINCESS MONONOKE path . [S]o although many of my family members and acquain- tances find my Anime devotion odd, it doesn’t matter to me. My interest has spawned many new experiences. I love learning about the Japanese culture and I’m currently taking classes in the Japanese language. I’ve met many interesting people, made new friends, traveled to different cities, and developed a palate for Japanese food. Anime has broadened my world. —18-year-old female high school student Anime is a serious art form. —25-year-old male graphic designer It’s different. —22-year-old male computer science major THIS BOOK HAS LOOKED AT JAPANESE ANIMATION in both its local and global context, though it has stressed the Japanese context more than the international one. As a result, this appendix looks at anime from another angle: its development as a cult phenomenon in the West, particularly in the United States. Based on new research, it appears that anime is attracting an increasingly diversified audience, expanding from its original core of university students to include professionals in high tech industries, finance, and law. -
WHETHER You're LOOKING to COMPLETE the FUL SET
COLLECTORS' CORNER! WHETHER You’re lOOKING TO COMPLETE THE FUL SET, COLLECT ALL THE GAMES PUBLISHED IN THE FOUR MAIN TERRITORIES, OR MORE MODESTLY LIST THE TITLES YOU OWN, THE COLLECTor’s CORNER WAS MADE FOR YOU. TITLE PAGE ALTERNATE TITLE RELEASE RELEASE RELEASE DEVELOPER PUBLISHER DATE JP DATE NTSC DATE PAL 2020 SUPER BASEBALL 10 MONOLITH K AMUSEMENT LEASING (JP) / TRADEWEST (US) 3 NINJAS KICK BACK 10 l l MALIBU INTERACTIVE SONY IMAGESOFT 3×3 EYES JÛMA HÔKAN 10 l SYSTEM SUPPLY N-TECH BANPRESTO 3×3 EYES SEIMA KÔRINDEN 10 l NOVA GAMES YUTAKA GREAT BATTLE III (THE) 114 l SUN L BANPRESTO 4-NIN SHÔGI 10 l PLANNING OFFICE WADA PLANNING OFFICE WADA 7TH SAGA (THE) 10 ELNARD (JP) l PRODUCE GAMEPLAN21 (JP) / ENIX AMERICA (US) 90 MINUTES: EUROPEAN PRIME GOAL 11 J.LEAGUE SOCCER PRIME GOAL 3 (JP) l l NAMCO NAMCO (JP) / OCEAN (EU) A.S.P AIR STRIKE PATROL 11 DESERT FIGHTER (EU) l l OPUS SETA (JP-US) / SYSTEM 3 (EU) AAAHH!!! REAL MONSTERS 12 l l l REALTIME ASSOCIATES VIACOM NEW MEDIA ABC MONDAY NIGHT FOOTBALL 11 l l KÛSÔ KAGAKU DATA EAST ACCELE BRID 11 l Gl ENKI TOMY ACE O NERAE! 11 l TELENET JAPAN TELENET JAPAN ACME ANIMATION FACTORY 12 l PROBE SOFTWARE SUNSOFT ACROBAT MISSION 12 l l MICRONICS TECHIKU ACTION PACHIO 12 l C-LAB COCONUTS JAPAN ACTRAISER 13 l QUINTET ENIX (JP-EU) / ENIX AMERICA (US) ACTRAISER 2 14 ACTRAISER 2: CHINMOKU E NO SEISEN (JP) l l l QUINTET ENIX (JP) / ENIX AMERICA (US) / UBISOFT (EU) ADDAMS FAMILY (THE) 14 l l l OCEAN MISAWA (JP) / OCEAN (EU-US) ADDAMS FAMILY (THE): PUGSley’S SCAVENGER HUNT 14 l l l OCEAN OCEAN ADDAMS FAMILY VALUES 14 l l OCEAN OCEAN ADVANCED DUNGEONS & DRAGONS: EYE OF THE BEHOLDER 15 l Cl APCOM CAPCOM ADVENTURES OF BATMAN & ROBIN (THE) 15 l l KONAMI KONAMI ADVENTURES OF DR. -
GL18 · Cómic Manga
CÓMIC MANGA • Guía de lectura de la BRS Número GL18 15 julio 2010 Biblioteca Río Segura C/ Cartagena, 74, Módulo 2 30002 Murcia Teléfono: 0034 968 351 550 Correo electrónico: [email protected] GUÍA DE «LECTURA» Internet: rmbm.org/bibliotecas/riosegura.htm Internet: www.murcia.es Selección, clasificación y documentación: M.ª Dolores Candel & M.ª Rita Funes. Coordinación, diseño y maquetación: Pedro Antonio Jiménez Martínez. © 2010 Ayuntamiento de Murcia, Red Municipal de Bibliotecas de Murcia · Serie: GuíasGL18 lectura.·Serie: Municipal de Murcia Murcia,Red BRS, de BibliotecasAyuntamientode de 2010 © 24 CÓMIC MANGA • Guía de lectura de la BRS CÓMIC MANGA • Guía de lectura de la BRS Mis anotaciones en España se ha denominado tebeo La historieta o (y ya veremos hasta cuando aguanta cómic es una serie esta palabra la competencia de de dibujos que cómic). Fuera de Japón, se utiliza ex- constituye un rela- clusivamente para referirse a los to, con texto o sin cómics nipones. él, así como el me- dio de comunica- El manga abarca todos los géneros, ción en su conjunto. Partiendo de la llega a todos los públicos y constituye concepción de Will Eisner de esta una parte importantísima del merca- narrativa gráfica como un arte se- do editorial de Japón, motivando cuencial, Scott McCloud llega a la además adaptaciones a distintos for- siguiente definición: Ilustraciones yuxtapuestas y otras imágenes en secuencia deliberada con el propósito de transmitir información u obtener una respuesta estética del lector. Sin embargo, no todos los teóricos están de acuerdo con esta definición, la más popular en la actualidad, dado que permite la inclusión de la fotono- vela y, en cambio, ignora el denomi- nado humor gráfico.