TOKYO IDOL FESTIVAL 2016 Timetable 2016/8/7
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Idols and Celebrity in Japanese Media Culture, Edited by Patrick W
Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Edited by Patrick W. Galbraith and Jason G. Karlin University of Tokyo, Japan Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Introduction, selection -
Japanese “Idols” in Trans-Cultural Reception: the Case of AKB48
Japanese “Idols” in Trans-Cultural Reception: the case of AKB48 Wendy Xie, Boone Introduction On Feb. 1, 2013, a video clip of the Japanese entertainer Minegishi Minami (峯岸 みなみ) appeared on the official webpage of AKB48, the popular Japanese all female band of which Minegeshi is a mem- ber. In the video, a tearful and repentant Minegishi apologized to her fans for the report in the prior day (the prior day’s report) that she had broken the band’s no-romance rule by dating a male singer. The real shock that captivated the audience was Minegeshi’s newly shaved head as a form of self-punishment. This video was soon uploaded to Youtube and accumulated tens of thousands views in the following days. The story also made its way to major news webpages around the world.1 Ironically, in an unexpected fashion, the Japanese band finally achieved the international notoriety that its founding producer Akimoto Yasushi (秋元康) had always craved for. In this paper, I shall showcase and analyze AKB48 and its love ban on member in order to better understand Japanese idols – an important aspect of Japanese popular culture. Although there has been fruitful scholarship on Japanese film, manga, and anima, sub- stantial scholarly studies on Japanese idols as a cultural phenomenon are still lacking. For instance, Aoyagi’s ground breaking study on idols is almost ten years old. My paper is an attempt to fill this gap. 1 Japanese Daily Press, 2013: <http://japandailypress.com/akb48s-minami-minegishi- caught-leaving-mans-apartment-shaves-head-posts-tearful-youtube-apology-0122526> (14.07.2014). -
Fragmenting History: Prostitutes, Hostesses, and Actresses at The
Fragmenting History: Prostitutes, Hostesses, and Actresses at the Edge of Empire Nobuko Ishitate-Okumiya Yamasaki A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Edward Mack, Chair Yomi Braester Chandan Reddy Stephen Sumida Program Authorized to Offer Degree: Department of Comparative Literature © Copyright 2014 Nobuko Ishitate-Okumiya Yamasaki University of Washington ABSTRACT Fragmenting History: Prostitutes, Hostesses, and Actresses at the Edge of Empire Nobuko Ishitate-Okumiya Yamasaki Chair of the Supervisory Committee: Associate Professor Edward Mack Department of Comparative Literature and Department of Asian Languages and Literature By exploring various figures of gendered and sexualized female workers, such as street prostitutes, hostesses, comfort women, teachers, idols, and actresses, this dissertation reveals that women’s bodies were highly contested territories of knowledge in the Japanese Empire. Their bodies were sites of political struggle where racial, national, and class differences met, competed, and complicated one another. The dissertation elucidates the processes by which those women’s bodies became integral parts of Empire building during the imperial period (1894-1945), suggesting that its colonial and imperial legacies are still active even today. Unlike some preceding works on Japanese colonial literature have shown, many of these figures fall away from normative discourses of the trope of family contributing to Empire building. In other words, theirs is a politics of the perverse. With careful attention to intersections of race, sex, class, and affect, the dissertation contributes to the study of Japanese Empire, which tends to focus on men and avoids subtle readings of women’s bodies. -
Research Materials
BABYMETALRESEARCH MATERIALS DATASHEETVERSION 1.0 UNOFFICIAL CONTENT RELEASE DATE: APRIL 5, 2017 DESIGNED BY CREATIVE EDGE SCHOOL BOOKS 研究資料：BABYMETAL データシート （※非公式コンテンツ） 公開日：2017年 4月5日（水）／制作：Creative Edge School Books クリエイティブ・エッジ・スクール・ブックス http://design-zero.tv/babymetal/datasheet.html 2010 11 月 28 日 12 月14 日 さくら学院☆2010 さくら学院 1st シングル発売記念イベント 神奈川・横浜・赤レンガ倉庫 1 号館 3F ホール 東京・タワーレコード渋谷店 B1「STAGE ONE」 SETLIST - 001 重音部 始動！ SETLIST - 002 ※重音部の活動開始は10月28日 ［01］School days 重音部の初めてのライブ ［01］Hello ! IVY ［02］Hello ！ IVY ［02］ド・キ・ド・キ☆モーニング（重音部） 中等部 ［03］Dear Mr.Socrates（バトン部） ［03］めだかの兄弟（帰宅部） 武藤彩未（あやみ） 三吉彩花（あやか） ［04］ハッピーバースデー（クッキング部） ［04］夢に向かって 松井愛莉（あいり） ［05］ド・キ・ド・キ☆モーニング（重音部） ［05］アンコール：School days 中元すず香（すずか） ［06］めだかの兄弟（帰宅部） 初披露 01 小等部 佐藤日向（ひなた） ［07］もってけセーラー服 堀内まり菜（まりな） ［08］夢に向かって 飯田來麗（らうら） source あの可憐 Girl's のメンバーが 杉崎寧々（ねね） ［09］message “さくら学院” として再びお目見え https://www.barks.jp/news/?id=1000065632 転入生 ［10］アンコール：Hello ！ IVY 菊地最愛（もあ） 水野由結（ゆい） source 「さくら学院 2010 年度 ～message～」 初回限定「ら」盤 CD+DVD DVD「ラブ＆ピース ! 出会いの季節はすぐそこに。」 2011 2 月1日 4 月27日 「さくら学院」の連絡板にて、重音部のユニット名 さくら学院 2010 年度 ～message～ 「BABYMETAL」が公表される（※BABY と METAL の間に 収録曲：ド・キ・ド・キ☆モーニング 全角のスペースあり） 5 月1日 7 月23日 source http://www.sakuragakuin.jp/news/single.php?id=39 さくら学院 1stアルバム「さくら学院 2010年度 さくら学院 2011 年度 NEW ～Departure～ ～message～」発売記念インストアイベント 東京・渋谷 duo MUSIC EXCHANGE 東京・タワーレコード渋谷店 B1「STAGE ONE」 SETLIST - 006 SETLIST - 005 5 月1日 ［01］FLY AWAY さくら学院 1stアルバム「さくら学院 2010年度 ［01］Hello ！ IVY 2 月12日 ［02］Hello ！ IVY ～message～」発売記念インストアイベント ［02］School Days さくら学院 Happy Valentine♪ ［03］プリーズ！プリーズ！プリーズ！（バトン部） 東京・タワーレコード新宿店 -
Japanese Musical Modanizumu: Interwar YÅ“Gaku Composers and Modernism
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Japanese Musical Modanizumu: Interwar Y#gaku Composers and Modernism Kathryn Etheridge Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JAPANESE MUSICAL MODANIZUMU: INTERWAR YGAKU COMPOSERS AND MODERNISM By KATHRYN ETHERIDGE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Kathryn Etheridge defended this dissertation on April 29, 2014. The members of the supervisory committee were: Denise Von Glahn Professor Directing Dissertation Lauren S. Weingarden University Representative Douglass Seaton Committee Member Charles E. Brewer Committee Member Jimmy Yu Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii This is dedicated to my husband, Seth. He knows why. iii ACKNOWLEDGMENTS Many teachers, mentors, colleagues, organizations and friends helped to make this project successful. Foremost among them is The Presser Foundation, which provided me with the means—through a generous Graduate Music Award—to travel to Tokyo to conduct archival research. I am also indebted to the Florida State University College of Music faculty for awarding me a Curtis Mayes Orpheus Grant, which allowed me to purchase many of the Japanese sources that I utilized in the creation of this dissertation. My dissertation would not have been possible without the extensive assistance of Morimoto Mieko and the entire staff at the Nihon Kindai Ongakukan at Meiji Gakuin University in Tokyo. -
Vegvísir Nokkrar Hugleiðingar Um Tónleikaferðalög 5
Vegvísir Nokkrar hugleiðingar um tónleikaferðalög 5 Hvernig á að skrifa rider ................................................................................................6 Hvernig á að tala við bókara .........................................................................................6 Hvernig á að plana leiðina sem þú hyggst ferðast ...........................................................7 Þegar út er komið ..........................................................................................................7 Markaðir 9 Bandaríkin 10 (United States of America) ...........................................................................................10 Introduction to the Market ...........................................................................................10 Record Labels, Licensing & Distribution .........................................................................11 Performance Rights ......................................................................................................12 Management ..............................................................................................................13 Live ............................................................................................................................13 Media, PR & Promo .....................................................................................................16 PR Agencies ................................................................................................................18 Visa and Work Permissions