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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. -
Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
The Practical Use of Comics by TESOL Professionals By
Comics Aren’t Just For Fun Anymore: The Practical Use of Comics by TESOL Professionals by David Recine A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in TESOL _________________________________________ Adviser Date _________________________________________ Graduate Committee Member Date _________________________________________ Graduate Committee Member Date University of Wisconsin-River Falls 2013 Comics, in the form of comic strips, comic books, and single panel cartoons are ubiquitous in classroom materials for teaching English to speakers of other languages (TESOL). While comics material is widely accepted as a teaching aid in TESOL, there is relatively little research into why comics are popular as a teaching instrument and how the effectiveness of comics can be maximized in TESOL. This thesis is designed to bridge the gap between conventional wisdom on the use of comics in ESL/EFL instruction and research related to visual aids in learning and language acquisition. The hidden science behind comics use in TESOL is examined to reveal the nature of comics, the psychological impact of the medium on learners, the qualities that make some comics more educational than others, and the most empirically sound ways to use comics in education. The definition of the comics medium itself is explored; characterizations of comics created by TESOL professionals, comic scholars, and psychologists are indexed and analyzed. This definition is followed by a look at the current role of comics in society at large, the teaching community in general, and TESOL specifically. From there, this paper explores the psycholinguistic concepts of construction of meaning and the language faculty. -
11Eyes Achannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air
11eyes AChannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air Master Amaenaideyo Angel Beats Angelic Layer Another Ao No Exorcist Appleseed XIII Aquarion Arakawa Under The Bridge Argento Soma Asobi no Iku yo Astarotte no Omocha Asu no Yoichi Asura Cryin' B Gata H Kei Baka to Test Bakemonogatari (and sequels) Baki the Grappler Bakugan Bamboo Blade Banner of Stars Basquash BASToF Syndrome Battle Girls: Time Paradox Beelzebub BenTo Betterman Big O Binbougami ga Black Blood Brothers Black Cat Black Lagoon Blassreiter Blood Lad Blood+ Bludgeoning Angel Dokurochan Blue Drop Bobobo Boku wa Tomodachi Sukunai Brave 10 Btooom Burst Angel Busou Renkin Busou Shinki C3 Campione Cardfight Vanguard Casshern Sins Cat Girl Nuku Nuku Chaos;Head Chobits Chrome Shelled Regios Chuunibyou demo Koi ga Shitai Clannad Claymore Code Geass Cowboy Bebop Coyote Ragtime Show Cuticle Tantei Inaba DFrag Dakara Boku wa, H ga Dekinai Dan Doh Dance in the Vampire Bund Danganronpa Danshi Koukousei no Nichijou Daphne in the Brilliant Blue Darker Than Black Date A Live Deadman Wonderland DearS Death Note Dennou Coil Denpa Onna to Seishun Otoko Densetsu no Yuusha no Densetsu Desert Punk Detroit Metal City Devil May Cry Devil Survivor 2 Diabolik Lovers Disgaea Dna2 Dokkoida Dog Days Dororon EnmaKun Meeramera Ebiten Eden of the East Elemental Gelade Elfen Lied Eureka 7 Eureka 7 AO Excel Saga Eyeshield 21 Fight Ippatsu! JuudenChan Fooly Cooly Fruits Basket Full Metal Alchemist Full Metal Panic Futari Milky Holmes GaRei Zero Gatchaman Crowds Genshiken Getbackers Ghost -
Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp. -
Reuters Institute: the Future of Voice and the Implications for News
DIGITAL NEWS PROJECT NOVEMBER 2018 The Future of Voice and the Implications for News Nic Newman Contents About the Author 4 Acknowledgements 4 Executive Summary 5 1. Methodology and Approach 8 2. What is Voice? 10 3. How Voice is Being Used Today 14 4. News Usage in Detail 23 5. Publisher Strategies and Monetisation 32 6. Future Developments and Conclusions 40 References 43 Appendix: List of Interviewees 44 THE REUTERS INSTITUTE FOR THE STUDY OF JOURNALISM About the Author Nic Newman is Senior Research Associate at the Reuters Institute and lead author of the Digital News Report, as well as an annual study looking at trends in technology and journalism. He is also a consultant on digital media, working actively with news companies on product, audience, and business strategies for digital transition. Acknowledgements The author is particularly grateful to media companies and experts for giving their time to share insights for this report in such an enthusiastic and open way. Particular thanks, also, to Peter Stewart for his early encouragement and for his extremely informative daily Alexa ‘flash briefings’ on the ever changing voice scene. The author is also grateful to Differentology andY ouGov for the professionalism with which they carried out the qualitative and quantitative research respectively and for the flexibility in accommodating our complex and often changing requirements. The research team at the Reuters Institute provided valuable advice on methodology and content and the author is grateful to Lucas Graves and Rasmus Kleis Nielsen for their constructive and thoughtful comments on the manuscript. Also thanks to Alex Reid at the Reuters Institute for keeping the publication on track at all times. -
UX and Agile: a Bollywood Blockbuster Masala
UX and Agile: A Bollywood blockbuster masala Pradeep Joseph UXD Manager Juniper Networks Bangalore What is Bollywood? Wikipedia says: The name "Bollywood" is derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. Indian audiences expect full value for their money. Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour- long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance and so on. Melodrama and romance are common ingredients to Bollywood films. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences. What has UX and Agile got to do with Bollywood? As a Designer I faced tremendous challenges while moving into an Agile environment. While drowning the sorrows with designers from other organizations I came to realize that they too face similar challenges. This inspired me to explore further into what makes designers sad, what makes them suck and what are the ways in which they can contribute more in an Agile environment. -
Announcement of Award-Winning Works Selected from 4,034 Entries!
The 20th Japan Media Arts Festival Press Release March 16, 2017 20th Japan Media Arts Festival - Announcement of Award-winning Works Selected from 4,034 Entries! http://j-mediaarts.jp/en.php The 20th Japan Media Arts Festival’s Award-winning Works and Special Achievement Awards have been chosen. The Japan Media Arts Festival is a comprehensive festival of Media Arts (Japanese: Media Geijutsu) that honors outstanding works in the four divisions of Art, Entertainment, Animation and Manga, as well as providing a platform for appreciation of the Award-winning works. For the 20th Japan Media Arts Festival, we received a number of 4,034 works from 88 countries and regions. After strict jury screening, every Division selected the winners (Grand Prizes, Excellence Awards and New Face Awards), as well as the winners of Special Achievement Awards, those who have made exceptional contributions to the field of Media Arts. The Exhibition of Award-winning Works will be held in September, 2017, at the NTT InterCommunication Center ［ICC］and the Tokyo Opera City Art Gallery（Hatsudai,Tokyo）. Grand Prize-Winners of the 20th Japan Media Arts Festival Left: Art Division “Interface I” Media installation Ralf BAECKER［ Germany］ Right: Entertainment Division “SHIN GODZILLA” Video work ANNO Hideaki / HIGUCHI Shinji ［Japan］ © 2016 Ralf Baecker © 2016 TOHO CO.,LTD. Left: Animation Division “your name.” Animated feature film SHINKAI Makoto［ Japan］ Right: Manga Division “BLUE GIANT” © 2016 TOHO CO., LTD. / CoMix Wave Films Inc. / KADOKAWA CORPORATION / ISHIZUKA Shinichi［ -
Free Companions.Xlsx
Free Companion List By AladdinAnon Key Type = There are 4 types Jump Name = Name of Jump Canon = Canon Charcter, typically a gift Folder = Which folder to find the jump OC = Get an OC Character, typically a "create your own" option Companion = What you get Scenario = required to do a scenario to get the companion Source = Copy and ctrl+F to find their location in jump doc Drawback = Taking the companion is optional after the drawback is finished TG Drive Jumps starting with Numbers Folder Companion Type Source 10 Billion Wives Gauntlets 0 - 10 Billion Wives OC 10 Billion Wives Jumps starting with A Folder Companion Type Source A Brother’s Price A-M Family OC Non Drop-ins A Brother’s Price A-M Husband OC Non Drop-in Women A Brother’s Price A-M Mentor OC Non Drop-in Men A Brother’s Price A-M Aged Spinsters OC Drop-ins of any Gender A Practical Guide to Evil A-M Rival Drawback Rival (+100) A Super Mario…Thing Images 1 OC OC Multiplayer Option After War Gundam X Gundum Frost brothers Drawback A Frosty Reception (+200cp/+300cp) Age of Empires III: Part 1: Blood Age of Empires III Pick 1 of 5 Canon Faction Alignment Ah! My Goddess A-M Goddess Waifu Scenario Child of Ash and Elm Ah! My Goddess A-M Raising Iðavöllr Scenario Iðavöllr AKB49 - Renai Kinshi Jourei (The Rules Against Love) A-M 1 A New Talent OC Drop-In, Fan, Stagework AKB49 - Renai Kinshi Jourei (The Rules Against Love) A-M 1 Canon Companion Canon Kenkyusei, Idol, Producer AKB49 - Renai Kinshi Jourei (The Rules Against Love) A-M Rival Drawback 0CP Rivals AKB49 - Renai Kinshi Jourei (The Rules Against Love) A-M Yoshinaga Drawback 400CP For Her Dreams Aladdin Disney Iago Canon Iago Aladdin Disney Mirage Scenario Mirage’s Wrath Aladdin Disney Forty Thieves Scenario Jumper And The Forty Thieves. -
Love Alarm (2019) Primo K-Drama Originale Netflix, La Serie Regala Una Potente Analisi Della Solitudine Adolescenziale
Love Alarm (2019) Primo k-drama originale Netflix, la serie regala una potente analisi della solitudine adolescenziale. Un film di Lee Na-jeong con So-hyun Kim, Jung Ga-ram, Song Kang. Genere Commedia Produzione Corea del sud 2019. In un mondo in cui un'app avverte le persone se piacciono a qualcuno nelle vicinanze, la giovane Kim Jojo scopre l'amore. Lorenza Negri - www.mymovies.it Kim Jo-jo (Kim So-Hyun, 'Goblin') è una studentessa di liceo che affronta quotidianamente difficoltà economiche e attriti familiari; Hwang Sun-oh (Song Kang, 'Touch Your Heart') è un compagno di liceo bello, ricco e corteggiato, il cui migliore amico è il diligente e protettivo Lee Hye-Young (Jung Ga-ram, 'Believer'), figlio della governante di casa Hwang. Tutti e tre, così come il resto della scuola e altri dieci milioni di persone nel mondo, lasciano dominare la propria vita amorosa da Love Alarm, una dating app che ti avverte della presenza di qualcuno innamorato di te nell'arco di dieci metri e che sta velocemente prendendo il sopravvento sulle vite - reali e non virtuali - degli utenti con conseguenze destinate ad avere ripercussioni personali, sociali e politiche. Il primo k-drama (ovvero serie di produzione sudcoreana) originale di Netflix è tratto da un webcomic che sviluppa un'idea alla 'Black Mirror': come in Nosedive, una app social (la Love Alarm del titolo) elude i limiti del mondo virtuale per condizionare i suoi utenti in ogni aspetto della loro vita sociale. 'Love Alarm' è, almeno nelle premesse, il tipico k-drama teen incentrato sulla ragazza squattrinata che conquista l'ambito e bel riccone: Jo-jo è orfana (i genitori si sono suicidati a causa dei debiti), povera (vive in ristrettezze con zia e cugina) e vessata, mentre Sun-oh è il teenager facoltoso, popolare ma infelice (lui lavora come modello, il padre è un politico emergente, la madre un'attrice al viale del tramonto) che si innamora di lei e la conquista. -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Korean Webtoons' Transmedia Storytelling
International Journal of Communication 13(2019), 2094–2115 1932–8036/20190005 Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada The sociocultural reasons for the growth of webtoons as snack culture and snack culture’s influence in big-screen culture have received little scholarly attention. By employing media convergence supported by transmedia storytelling as a theoretical framework alongside historical and textual analyses, this article historicizes the emergence of snack culture. It divides the evolution of snack culture—in particular, webtoon culture—to big-screen culture into three periods according to the surrounding new media ecology. Then it examines the ways in which webtoons have become a resource for transmedia storytelling. Finally, it addresses the reasons why small snack culture becomes big-screen culture with the case of Along With the Gods: The Two Worlds, which has transformed from a popular webtoon to a successful big-screen movie. Keywords: snack culture, webtoon, transmedia storytelling, big-screen culture, media convergence Snack culture—the habit of consuming information and cultural resources quickly rather than engaging at a deeper level—is becoming representative of the Korean cultural scene. It is easy to find Koreans reading news articles or watching films or dramas on their smartphones on a subway. To cater to this increasing number of mobile users whose tastes are changing, web-based cultural content is churning out diverse subgenres from conventional formats of movies, dramas, cartoons, and novels (Chung, 2014, para. 1). The term snack culture was coined by Wired in 2007 to explain a modern tendency to look for convenient culture that is indulged in within a short duration of time, similar to how people eat snacks such as cookies within a few minutes.