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Happily Ever Ancient
HAPPILY EVER ANCIENT Visions of Antiquity for children in visual media HAPPILY EVER ANCIENT This work is subject to an International Creative Commons License Attribution- NonCommercial-ShareAlike 4.0, for a copy visit: http://creativecommons.org/licenses/by-nc-sa/4.0/ Visions of Antiquity for children in visual media First Edition, December 2020 ...still facing COVID-19. Editor: Asociación para la Investigación y la Difusión de la Arqueología Pública, JAS Arqueología Plaza de Mondariz, 6 28029 - Madrid www.jasarqueologia.es Attribution: In each chapter Cover: Jaime Almansa Sánchez, from nuptial lebetes at the National Archaeological Museum of Athens, Greece. ISBN: 978-84-16725-32-8 Depósito Legal: M-29023-2020 Printer: Service Pointwww.servicepoint.es Impreso y hecho en España - Printed and made in Spain CONTENTS INTRODUCTION: A CONTEMPORARY ANTIQUITY FOR CHILDREN AND YOUNG AUDIENCES IN FILMS AND CARTOONS Julián PELEGRÍN CAMPO 1 FAMILY LOVE AND HAPPILY MARRIAGES: REINVENTING MYTHICAL SOCIETY IN DISNEY’S HERCULES (1997) Elena DUCE PASTOR 19 OVER 5,000,000.001: ANALYZING HADES AND HIS PEOPLE IN DISNEY’S HERCULES Chiara CAPPANERA 41 FROM PLATO’S ATLANTIS TO INTERESTELLAR GATES: THE DISTORTED MYTH Irene CISNEROS ABELLÁN 61 MOANA AND MALINOWSKI: AN ANTHROPOLOGICAL APPROACH TO MODERN ANIMATION Emma PERAZZONE RIVERO 79 ANIMATING ANTIQUITY ON CHILDREN’S TELEVISION: THE VISUAL WORLDS OF ULYSSES 31 AND SAMURAI JACK Sarah MILES 95 SALPICADURAS DE MOTIVOS CLÁSICOS EN LA SERIE ONE PIECE Noelia GÓMEZ SAN JUAN 113 “WHAT A NOSE!” VISIONS OF CLEOPATRA AT THE CINEMA & TV FOR CHILDREN AND TEENAGERS Nerea TARANCÓN HUARTE 135 ONCE UPON A TIME IN MACEDON. -
Controlling the Spreadability of the Japanese Fan Comic: Protective Practices in the Dōjinshi Community
. Volume 17, Issue 2 November 2020 Controlling the spreadability of the Japanese fan comic: Protective practices in the dōjinshi community Katharina Hülsmann, Heinrich-Heine-University Düsseldorf, Germany Abstract: This article examines the practices of Japanese fan artists to navigate the visibility of their own works within the infrastructure of dōjinshi (amateur comic) culture and their effects on the potential spreadability of this form of fan comic in a transcultural context (Chin and Morimoto 2013). Beyond the vast market for commercially published graphic narratives (manga) in Japan lies a still expanding and particularizing market for amateur publications, which are primarily exchanged in printed form at specialized events and not digitally over the internet. Most of the works exchanged at these gatherings make use of scenarios and characters from commercially published media, such as manga, anime, games, movies or television series, and can be classified as fan works, poaching from media franchises and offering a vehicle for creative expression. The fan artists publish their works by making use of the infrastructure provided by specialized events, bookstores and online printing services (as described in detail by Noppe 2014), without the involvement of a publishing company and without the consent of copyright holders. In turn, this puts the artists at risk of legal action, especially when their works are referring to the content owned by notoriously strict copyright holders such as The Walt Disney Company, which has acquired Marvel Comics a decade ago. Based on an ethnographic case study of Japanese fan artists who create fan works of western source materials (the most popular during the observed timeframe being The Marvel Cinematic Universe), the article identifies different tactics used by dōjinshi artists to ensure their works achieve a high degree of visibility amongst their target audience of other fans and avoid attracting the attention of casual audiences or copyright holders. -
Doraemon in India
Media Literacy in Entertainment for Children: The Fantastic Case of Doraemon in India Neha Hooda University of Debrecen, Hungary BRIEF SUMMARY ➤ Media consumption preferences of children in the age group of 8 to13 years in India ➤ Based on research conducted between Sept 2017 - 2018 ➤ Understand how media impacts everyday life for children on the basis of content they watched ➤ Interacted with 201 girls and 249 boys ➤ A total of 200 programs were sampled of which the case study elaborates on the top 5 programs popular between boys and girls. ➤ Today I will talk about 1 such program: Doraemon :-) DORAEMON: The Gadget Cat from the Future Telecasted in India since 2005 on Disney Channel WHO IS THIS CAT? ➤ Robotic cat who travels back in time from the 22nd century to help Nobita ➤ Keeps several gadgets (from the future) in his four- dimensional pocket ➤ Best gadgets: Bamboo- Copter & Anywhere Door ➤ Key characters - Doaremon, Nobita, Shizuka, Gian and Suneo ➤ Originally aimed at children in the ages of 3 years to 8 years ➤ The series is over 40 years old and still popular in Asia CULTURAL SIGNIFICANCE OF DORAEMON ➤ The Cuddliest Hero in Asia”: Time magazine chose Doraemon as one of the 22 Asian heroes for the special issue of Asian Hero ➤ In 2008, Japan appointed Doraemon as nation's first "anime ambassador ➤ The Fujiko F. Fujio museum in Kawasaki showcases Doraemon as the key hero TIMELINE OF DORAEMON ➤ 1969: Written by Fujiko F. Fujio & first published as a manga comic ➤ 1973: First edition - 26 episodes broadcasted as an animated series for -
Vliv Anime Na Vznik a Formování Subkultury Otaku Bakalářská Diplomová Práce
Masarykova univerzita Filozofická fakulta Seminář japonských studií Tereza Bělecká Vliv anime na vznik a formování subkultury otaku Bakalářská diplomová práce Vedoucí práce: Mgr. Barbora Leštáchová 2014 Prohlašuji, že jsem bakalářskou diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. Prohlašuji, že tištěná verze práce je shodná s verzí elektronickou. Souhlasím, aby práce byla archivována a zpřístupněna ke studijním účelům. ...................................................... Podpis autorky práce 2 Poděkování Zde bych chtěla poděkovat vedoucí práce Mgr. Barboře Leštáchové za veškerou pomoc a podnětné připomínky. 3 Obsah 1. Úvod .................................................................................................................................... 5 2. Vymezení vybraných pojmů ................................................................................................. 8 2.1 Anime ............................................................................................................................ 8 2.2 Subkultura ...................................................................................................................... 9 2.3 Otaku ............................................................................................................................10 3. Historie anime .....................................................................................................................12 3.1 Vznik moderního anime.................................................................................................12 -
The Potential Uses of Japanese •Ÿanimeâ•Ž in Primary School
Stony Brook University How does Japanese anime positively and negatively affect the Department of Asian and Asian American studies. educational potential of young children in China. Ming Xinran Introduction-why it is important Effect on Chinese teenagers Recommendation of anime With the development of globalization, more and more people are interested in Japanese anime. It is prevalence that everyone can • Japanese anime language manifestation easy to get access to various kinds of Japanese anime. there is a big Buzzword from Japanese anime film . issue that teenagers are also able to access to several Japanese Moe「萌え」- means cute, and people who are pity, want to protect. anime that have unappropriated contents for teenagers. it is Control means extremely liked impossible to isolate Japanese anime from teenagers. 「コン」 it is necessary to let teenager and parents know that there are also Otaku「オタク」 means people who like anime and manga. positive affect that Japanese anime could bring to them. Lolita-royal sister「ロリータ」, natural stay, transsexuals, girl, faithful dog attack, soft sister. Name of the anime from left to right are: Instead of prohibiting teenager from watching Japanese anime. It 1.Astroboy.2.Jungle Emperor Leo 3. The young monk will be more pragmatic to guide teenager and parents to . Teenagers are often very open for accepting knew words. These newly learned words from foreign Ikkyu. 4.Remi,Nobody’s girl. 5. Doraemon appropriate anime and use Japanese anime in potential 6.Slam dunk 7. Fullmetal alchemist educational way. Although my topic is about the effect of Japanese anime allowed complexed feeling and mood to be express more easily. -
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. -
Educational and Technological Perspectives in Doraemon - Hope and Dreams in Doraemon’S Gadgets Tsukamoto, Miho
World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:8, No:11, 2014 Educational and Technological Perspectives in Doraemon - Hope and Dreams in Doraemon’s Gadgets Tsukamoto, Miho because Doraemon was recognized for the contributions to the Abstract—A Japanese manga character, Doraemon, was made by expansion of Japanese anime all over the world. After the Fujiko F. Fujio in 1969, was made into animation in 1973. The main Fujiko F. Fujio Museum opened in September 2011, Doraemon character, Doraemon, is a robot cat, and is a well-known Japanese was admitted as an official resident in Kawasaki city, one animated character. However, Doraemon is not only regarded as an hundred years before he was born [1]. animation character but it is also used in educational and technological programs in Japan. This paper focuses on the background of Doraemon, educational and technological perspectives on Doraemon, and comparison of the original Japanese animation and the US remade version, and the animator Fujiko’s dreams and hopes for Doraemon will be examined. Since Doraemon has been exported as animation and manga to overseas, perspectives toward Doraemon have changed. For example, changes of stories and characters can been seen in the present Doraemon animation. Not only the overseas TV productions which Fig. 1 Doraemon broadcast Doraemon but also the Japanese production has to consider violence, sexuality, etc. when editing episodes. Because of representation of cultural differences, Japanese animation is thought to It is popular not only in Japan but also all over the world. It contain more violence, discrimination, and sexuality in animation. -
BRY04255 Title
BRY04255 Title: 'School' in Japanese children’s lives as depicted in manga Dr Mio Bryce Introduction The effect of information and media technologies as well as the processes of commercialisation in increasing the porousness of the borders within and between today’s societies warrants examining how the positioning and role as well as the representation of 'school' as a social world in children's lives has changed significantly. Traditionally, the role of the ‘school’ was to educate children with morals, discipline and knowledge, in order to mould them into an appropriate member of the society. Today, with the advancement of information technology, vast levels of knowledge can be easily accessed from numerous sources and without the reliance on the ‘school’ or the authority of teachers. Morals, disciplinary roles and religious values have become increasingly challenged, losing their absolute significance. Aggressive commercialisation inundates the home and school. Teachers are no longer on a pedestal. Everything, including the respect for teachers has come to be seen in ‘relative’ terms. In such a situation, what do children seek, and find, in 'school'? Japanese youths experience school life as a complex environment, involving oppressive yet ambiguous social, psychological and parental pressures. Popular cultural representations of these experiences, such as in manga (printed/animated), one of the most popular forms of Japanese visual culture, provide us with an important sociological window onto Japanese children’s social life. 'School' is an increasingly popular and significant location for numerous manga, particularly since the early 1970s. Yet its commercial success has ironically paralleled the disappearance of children's free time and space, including their childhood. -
Popular Culture
Web Japan http://web-japan.org/ POPULAR CULTURE A wide spectrum of popular tastes Manga With the appearance of writer-illustrator Tezuka Osamu after World War II, so-called “story manga,” or illustrated publications in comic book format, developed in a somewhat unique way in Japan. At one time, the main readers of such publications were people born during the “baby boom” of 1947–1949, but as those readers grew older, many different types of manga came into being. Beginning in the 1960s, manga readership steadily expanded to include everyone from the very young to people in their thirties and forties. As of 2016, manga accounted for 33.8% of the volume of all books and magazines sold in Japan, with their influence being felt in various art forms and the culture at large. Though some story manga are aimed at small children who are just beginning to learn to read, others are geared toward somewhat older boys and/or girls, as well as a general Manga comics readership. There are gag manga, which Manga magazines on sale in a store. (Photo courtesy of Getty Images) specialize in jokes or humorous situations, and experimental manga, in the sense that they pursue innovative types of expression. Some are nonfictional, treating information of weekly circulation of over 6 million and different sorts, either of immediate practical affiliated marketing systems for animation and use or of a historical, even documentary, video games. Most typically, children’s manga nature. stories feature young characters and depict The appearance in 1959 of the two their growth as they fight against their weekly children’s manga magazines, Shonen enemies and build friendships with their Magazine and Shonen Sunday, served to companions. -
Microsoft Visual Basic
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“What Doraemon, the Earless Blue Robot Cat from the 22Nd Century
“What Doraemon, the Earless Blue Robot Cat from the 22nd Century, Can Teach Us About How Japan’s Elderly and Their Human Caregivers Might Live with Emotional Care Robots.” Robert C. Marshall Western Washington University Author contact: [email protected] Abstract Structural analysis of the phenomenally popular and enduring Japanese anime Doraemon helps us think about what we might hope to see in the not too distant future from Japan’s promised surge in development of socially assistive robots (SARs) designed for the care of the elderly. Doraemon, the earless blue robot cat from the 22nd century, is assigned the conjoined tasks of caring for the 10-year-old boy Nobi Nobita as his constant companion, which he does by reproducing the ideal caregiving characteristic of Japanese expectations for mothers, endlessly affectionate indulgence; and of improving Nobita’s character, at which he is unsuccessful because he perpetually indulges Nobita’s immature demands for technology from the future to solve his problems with no effort of his own. One might suspect a moral lies hidden here for us all. Oddly and surprisingly enough, however, notwithstanding Doraemon’s failure as a robot to reform the child Nobita’s character because he can’t say ‘No’, exactly because the elderly require not reformation, but rather preservation, of the characters they have spent a lifetime honing, the unceasing affectionate indulgence Doraemon extends to Nobita (even if to Nobita’s lasting detriment) could augment the diminishing physical and emotional care resources available to the elderly from their real caregivers, fundamentally middle-aged women who must see first to the needs of their children and husbands as their essential duty to the futures of their families. -
POP POWER: Pop Diplomacy for a Global Society
Luis Antonio Vidal Pérez 1 POP POWER: Pop Diplomacy for a Global Society POP POWER: Pop Diplomacy for a Global Society Pop Culture as a tool for Cultural Diplomacy, for constructing a Global Society in the context of International Relations. Case: South Korea and Japan in Peru. 1. POPULAR CULTURE: A World of possibilities The term Popular Culture has always raised many arguments due to the ambiguity of its meaning. Even in the XXI century we have not yet been able to establish a single definition for the term. But if we want to understand the phenomenon of Pop Culture in all its magnitude we need to establish at least a general idea of what it represents. In fact, there are several definitions for Popular Culture and is the variety of definitions the source of the problem since how could we establish which one is right and which one is not? But if there is one thing that we can be sure of is that “Popular culture Is lake pornography, - in, oh, so many ways: we may not be able to define it, bet we know when it when we see it”. (Parker, 2011) The problem of the definition of Popular Culture is not new since it has been discussed for several centuries. In fact, since the late eighteenth and during the nineteenth century some intellectuals established the Popular Culture as a "quasi-mythical rural folk culture." (Storey, 2009) During the nineteenth and twentieth centuries, the popular would be considered as Mass Culture, as the opposite to High Culture, and as Global Culture, among others, depending on the theoretical view from which the subject is approached.