Release of Episodes 7 to 12 of VLADLOVE, Mamoru Oshii and Junji
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The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
(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. -
Elements of Realism in Japanese Animation Thesis Presented In
Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation. -
Habitar La Ficción Leda Rodrí
1 V Sección: Educación, evaluación y entretenimiento. CINE Y VIDEOJUEGO Avalon de Mamoru Oshii: Habitar la ficción Leda Rodríguez Jiménez Recibido: 6 de mayo de 2012 Aceptado: 6 de julio de 2012 RESUMEN El artículo plantea un acercamiento a las relaciones entre cine y videojuego, para luego concentrarse en una lectura de corte psicoanalítico del filme Avalon, del realizador japonés Mamoru Oshii. ¿Dónde termina la realidad y empieza el juego? Es la pregunta clave que nos permite desplegar el discurrir hermenéutico hacia una reflexión que profundiza en tópicos tan amplios y complejos como la dialéctica entre realidad y ficción o tan específicos como la adicción y la anorexia y su consecuente relación con la sexualidad. Abordar el texto fílmico desde la óptica psicoanalítica, implica considerar, desde luego y ante todo, el problema del deseo en la construcción de la sujetividad. Finalmente, el análisis textual se disemina hacia uno de los tópicos más recurrentes y complejos de la contemporaneidad: el ideal que aspira a prescindir de la corporeidad en el intento y la apuesta imposible de hacer que una consciencia habite la ficción que despliegan los entornos virtuales. Palabras clave: cine, videojuegos, psicoanálisis, Avalon, Mamoru Oshii ABSTRACT The article presents an approach to the relationships between cinema and videogames, then focuses on a psychoanalytic reading of the film Avalon by Japanese movies director Mamoru Oshii. Where does the reality end and the game begins? It is the key question which allows us to deploy the hermeneutical discourse towards a reflection on topics as broad and complex as the dialectic between reality and fiction or as specific as anorexia and addiction and their connection with sexuality. -
![I'm Going to Be Posting Some Excerpts from the Hideki Anno/Yoshiyuki Tomino Interview from the Char' Counterattack Fan Club Book.Forrefer[...]"](https://docslib.b-cdn.net/cover/6918/im-going-to-be-posting-some-excerpts-from-the-hideki-anno-yoshiyuki-tomino-interview-from-the-char-counterattack-fan-club-book-forrefer-1776918.webp)
I'm Going to Be Posting Some Excerpts from the Hideki Anno/Yoshiyuki Tomino Interview from the Char' Counterattack Fan Club Book.Forrefer[...]"
Thread by @khodazat: "I'm going to be posting some excerpts from the Hideki Anno/Yoshiyuki Tomino interview from the Char' Counterattack Fan Club Book.Forrefer[...]" I'm going to be posting some excerpts from the Hideki Anno/Yoshiyuki Tomino interview from the Char's Counterattack Fan Club Book. For reference, the book (released in 1993) wasbasically a doujinshi put together by Hideaki Anno. Beyond the Tomino interview... SGUNDAMIc CHAR'S,COUNDBRS vi Pi +h Panis, BMAF ; th A / mill FR HB*QILUES Rees PROUPT ua FS ROS +EtP—BS Awi— AFI GHA wr TF Pill im LTRS cos8 DHS RMS ShyuyIah mAETIX Rw KA @ TPLPGS) eS PAI BHF2 MAHSEALS GHos500S3Ic\' LUDTIA SY LAU PSSEts ‘= nuun MEFS HA ...1t compiles statements on the film by industry members like Toshio Suzuki, Mamoru Oshii, Haruhiko Mikimoto, Masami Yuki and many more. It's rare and expensive (ranges from $200-500 for a copy) so I haven't read any of it beyond the Tomino interview that was posted online. Also the interview is REALLY LONGso I'm only going to post the excerpts that interest me, not the whole thing. Okay, so withall that out of the way, here's the first excerpt. Anno:So, you know,| really love Char’s Counterattack. Tomino: (bewildered) Oh, thank you. Anno:| waspart of the staff, but even though | looked overall the storyboards,thefirst time | saw it | didn’t really getit. It wasn't until | experienced working as a director in the industry that| felt like | understood. Oguro:It turns out a lot of industry people enjoyed Char’s Counterattack. -
Early Oshii. from Patlabor to Ghost in the Shell : a Scientist Jumped, and Became a Woman
Early Oshii. From Patlabor to Ghost in the Shell : a scientist jumped, and became a woman. Camille Akmut January 20, 2020 Abstract Before Mamoru Oshii gained international acclaim with the 1995 Ghost in the Shell movie, he had already developed many of its themes in the two Patlabor movies (1989 and 1993, respectively). Here we introduce the first of these with a thesis (the fall of the programmer mirrors the birth of the gender- ambiguous cyborg) as well as notes from the history of computer science and technology. "Patlabor for me was a major film in many ways, and I think it became my turning point. I know I am what I am today because of Patlabor."{ he declared himself. 1 Introduction : Patlabor 1, a scientist learns to die \The scientific mission of the philosopher is to learn to die", Canguilhem told us via proxy, the Stoics, in "Life and Death". || Context for the time period of Patlabor 1 's release has already been provided, though not specifically related to it, and not entirely satisfying. For many decades, (...) the more ethnocentric characters of Japanese manga/anime pop culture were [held] too exotic to ever interest the average American. In the 1960s Japanese TV imports like Astro Boy were banished to the remotest time slots (...). A video store may have had one Kurosawa movie in its foreign section. But in the 1990s the growing hip-hop, pluralistic culture embraced Japanese cultural forms as an alternative to western iconography, creating an international street cyberpunk. Kung fu masters, samurai, and ninjas were no longer archaic historical artifacts, but cool modern conventions. -
28Th Leeds International Film Festival Presents Leeds Free Cinema Week Experience Cinema in New Ways for Free at Liff 28 from 7 - 13 November
LIFF28th 28 Leeds International Film Festival CONGRATULATIONS TO THE LEEDS INTERNATIONAL FILM FESTIVAL IN YOUR 28TH YEAR The BFI is proud to partner with Screen Yorkshire in a fantastic year for filmmaking in the region INCLUDING ‘71 GET SANTA SCREENING AT LIFF28 X + Y CATCH ME DADDY & LIFF28 OPENING NIGHT FILM TESTAMENT OF YOUTH Image: (2014) Testament of Youth James Kent Dir. bfi.org.uk/FilmFund Film Fund Ad LIFF 210x260 2014-10_FINAL 3.indd 1 27/10/2014 11:06 WELCOME From its beginnings at the wonderful, century-old Hyde Park Leeds International Film Festival is a celebration of both Picture House to its status now as a major national film event, film culture and Leeds itself, with this year more than 250 CONGRATULATIONS Leeds International Film Festival has always aimed to bring screenings, events and exhibitions hosted in 16 unique a unique and outstanding selection of global film culture locations across the city. Our venues for LIFF28 include the TO THE LEEDS INTERNATIONAL to the city for everyone to experience. This achievement main hub of Leeds Town Hall, the historic cinemas Hyde is not possible without collaborations and this year we’ve Park Picture House and Cottage Road, other city landmarks FILM FESTIVAL IN YOUR 28TH YEAR assembled our largest ever line-up of partners. From our like City Varieties, The Tetley, Left Bank, and Royal Armouries, long-term major funders the European Union and the British Vue Cinemas at The Light and the Everyman Leeds, in their Film Institute to exciting new additions among our supporting recently-completed Screen 4, and Chapel FM, the new arts The BFI is proud to partner with Screen Yorkshire organisations, including Game Republic, Infiniti, and Trinity centre for East Leeds. -
Essay on Avalon
Gérard Kraus – gkk1 TF30920 – Alternative Cinema Essay Alternative considerations on Avalon This essay will highlight in what contexts Avalon (Oshii, Japan, 2001) can and has to be considered an alternative piece of filmmaking. The dictionary definition of the adjective ‘alternative’ reads somewhat along the lines of ‘what is other’. In applying theories and discourses surrounding the films argued to alternative in general I will show that they can be applied to Avalon. Style and Reflexivity are critical issues that form a core of the definition of what is alternative and what is not. Due to its relative novelty Avalon has not been the object of any scholarly discussion to date. It can therefore not be proven whether it will have any relevance in a later discourse on its alternative status. I will therefore apply principles, mainly concerned with cult, and show their relevance to this film as well as introduce own ideas developed throughout the research for this essay. Avalon tells the story of Ash, a young woman living anonymously in an anonymous country in an anonymous future. Her true prominence, apart from being the main character in this film is the fact that she earns her life by playing a forbidden computer game. To access it players need to lie down in a chamber and put on a virtual reality helmet that connects their brains to the game. In this game, players or teams of players earn points - that can be transformed into money - by killing other soldiers, players or war machines. She is so good at it that she has become a virtual star, other players looking up and admiring her. -
Introduction
Notes Introduction 1 . See, for example, Mitsuhiro Yoshimoto’s review article “Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan J. Napier” in The Journal of Asian Studies , 61(2), 2002, pp. 727–729. 2 . Key texts relevant to these thinkers are as follows: Gilles Deleuze, Cinema I and Cinema II (London: Athlone Press, 1989); Jacques Ranciere, The Future of the Image (London and New York: Verso, 2007); Brian Massumi, Parables for the Virtual: Movement Affect, Sensation (Durham: Duke University Press, 2002); Slavoj Žižek, The Sublime Object of Ideology (London and New York: Verso, 1989); Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993). 3 . This is a recurrent theme in The Anime Machine – and although Lamarre has a carefully nuanced approach to the significance of technology, he ultimately favours an engagement with the specificity of the technology as the primary starting point for an analysis of the “animetic” image: see Lamarre, 2009: xxi–xxiii. 4 . For a concise summing up of this point and a discussion of the distinction between creation and “fabrication” see Collingwood, 1938: pp. 128–131. 5 . Lamarre is strident critic of such tendencies – see The Anime Machine , p. xxviii & p. 89. 6 . “Culturalism” is used here to denote approaches to artistic products and artefacts that prioritize indigenous traditions and practices as a means to explain the artistic rationale of the content. While it is a valuable exercise in contextualization, there are limits to how it can account for creative processes themselves. 7 . Shimokawa Ōten produced Imokawa Mukuzo Genkanban no Maki (The Tale of Imokawa Mukuzo the Concierge ) which was the first animated work to be shown publicly – the images were retouched on the celluloid. -
Portfolio Piece
Gérard Kraus (gkk1) TF30920 – Alternative Cinema Coursework 1 – Portfolio on Mamoru Oshii’s Avalon (2001) The aim of this portfolio and this accompanying explanatory piece is to provide a basic amount of evidence from all kinds of sources to suggest that Avalon (2001/Japan/Mamoru Oshii) can be considered an alternative film. This essay will not consider the film itself but only extra-textual information that can be divided down into three groups. The first group is closely linked to the film as it contains production, distribution and promotional information, the second contains material that sources outside the film’s production circle have produced be they reviews, academic essays or . The third group is made up of academic material that links the Film with debates concerning Film Studies. In order to present this portfolio in an acceptable manner, most of it’s contents have been put an a CD-ROM that is appended. The Structure of the CD-ROM will coincide with the grouping of the items. - Primary Material In this section I have regrouped material that is directly connected to the production, distribution and advertising of the Film, whether in Cinemas or on DVD/Video. Avalon was shot on location in Poland in Summer 1999. Mamoru Oshii and a skeleton crew of Japanese producers directed a crew that was made up of mostly Poles. The story had been co-written by renowned Anime playwright Kazunori Ito. After this the film was postproduced in Japan where strong alterations have been made to the footage that Oshii brought back from Poland. -
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. -
Haruhi in Usa: a Case Study of a Japanese Anime in the United States
HARUHI IN USA: A CASE STUDY OF A JAPANESE ANIME IN THE UNITED STATES A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Ryotaro Mihara August 2009 © 2009 Ryotaro Mihara ALL RIGHTS RESERVED ABSTRACT Although it has been more than a decade since Japanese anime became a popular topic of conversation when discussing Japan, both within the United States and in other countries as well, few studies have empirically investigated how, and by whom, anime has been treated and consumed outside of Japan. This research thus tries to provide one possible answer to the following set of questions: What is the empirical transnationality of anime? How and by whom is anime made transnational? How is anime transnationally localized/consumed? In order to answer the questions, I investigated the trans-pacific licensing, localizing, and consuming process of the anime The Melancholy of Haruhi Suzumiya (Haruhi) from Japan to the United States by conducting fieldwork in the United States’ agencies which localized Haruhi as well as U.S. anime and Haruhi fans. The central focus of this research is the ethnography of agencies surrounding Haruhi in the United States and Japan. I assume that these agencies form a community with a distinctive culture and principles of behaviors and practices in the handling of the Haruhi anime texts. The research findings to the above questions could be briefly summarized as follows. The worldview, characters, and settings of Haruhi (i.e. a fictious world of Haruhi which is embodied and described through its anime episodes and other related products) “reduces” and “diffuses” as it is transferred on the official business track from the producers in Japan to the localizers in the United States (i.e.