DKTK Kaapana, Technical Documentation

Total Page:16

File Type:pdf, Size:1020Kb

DKTK Kaapana, Technical Documentation DKTK Kaapana Technical Documentation Release 0.1.1 Kaapana Team Heidelberg Sep 24, 2021 CONTENTS 1 What is Kaapana? 1 2 Getting started 3 2.1 What’s needed to run Kaapana? .......................... 3 3 Build Kaapana 5 3.1 Build Requirements ................................. 5 3.2 Build modes ...................................... 7 3.3 Build Dockerfiles and Helm Charts ........................ 7 4 Install Kaapana 9 4.1 Step 1: Server Installation .............................. 9 4.2 Step 2: Platform Deployment ........................... 10 5 User guide 13 5.1 Default configuration ................................ 13 5.2 Storage stack: Kibana, Elasticsearch, OHIF and DCM4CHEE .......... 14 5.3 Processing stack: Airflow, Kubernetes namespace flow-jobs and the work- ing directory ...................................... 15 5.4 Core stack: Landing Page, Traefik, Louketo, Keycloak, Grafana, Kubernetes and Helm ....................................... 17 6 Extensions 20 6.1 Workflows ....................................... 20 6.2 Applications ...................................... 23 7 Development guide 24 7.1 Getting started .................................... 24 7.2 Write your first own DAG .............................. 25 7.3 Deploy an own processing algorithm to the platform ............. 27 7.4 Deploy a Flask Application on the platform ................... 32 8 Frequently Asked Questions (FAQ) 35 8.1 There seems to be something wrong with the landing-page visualization in the Browser ...................................... 35 8.2 Kibana dashboard does not work ......................... 35 8.3 Proxy configuration ................................. 36 8.4 Setup a connection to the Kubernetes cluster from your local workstation . 36 8.5 Failing to install an extension ............................ 37 i 9 Glossary 38 10 Releases 40 10.1 Version 0.1.0 ..................................... 40 11 License and contact 41 11.1 License ......................................... 41 11.2 Contact ........................................ 42 Index 43 ii CHAPTER ONE WHAT IS KAAPANA? Kaapana (from the hawaiian word kaāpana, meaning “distributor” or “part”) is an open source toolkit for state of the art platform provisioning in the field of medical data analysis. The applications comprise AI-based workflows and federated learning scenarios with a focus on radiological and radiotherapeutic imaging. Obtaining large amounts of medical data necessary for developing and training modern machine learning methods is an extremely challenging effort that often fails in a multi- center setting, e.g. due to technical, organizational and legal hurdles. A federated ap- proach where the data remains under the authority of the individual institutions and is only processed on-site is, in contrast, a promising approach ideally suited to overcome these difficulties. Following this federated concept, the goal of Kaapana is to provide a framework and a set of tools for sharing data processing algorithms, for standardized workflow design and execution as well as for performing distributed method development. This will facilitate data analysis in a compliant way enabling researchers and clinicians to perform large-scale multi-center studies. By adhering to established standards and by adopting widely used open technologies for private cloud development and containerized data processing, Kaapana integrates seam- lessly with the existing clinical IT infrastructure, such as the Picture Archiving and Commu- nication System (PACS), and ensures modularity and easy extensibility. Core components of Kaapana are: • dcm4chee: open source PACS system serving as a central DICOM data storage in Kaapana • Elasticsearch: search engine used to make the DICOM data searchable via their tags and meta information • Kibana: visualization dashboard enabling the interactive exploration of the DICOM data stored in Kaapana and indexed by Elasticsearch • Airflow: workflow management system that enables complex and flexible data pro- cessing workflows in Kaapana via container chaining • Kubernetes: container orchestration • Keycloak: user authentication • Docker: container system to provide algorithms as well as the platform components itself Kaapana is constantly developing and currently includes the following key-features: 1 DKTK Kaapana Technical Documentation, Release 0.1.1 • Large-scale image processing with SOTA deep learning algorithms, such as nnU-Net image segmentation • Analysing, evaluation and viewing of processed images and data • Simple integration of new, customized algorithms and applications into the frame- work • System monitoring • User management Currently the most widely used platform realized using Kaapana is the Joint Imaging Plat- form (JIP) of the German Cancer Consortium (DKTK). The JIP is currently being deployed at all 36 german university hospitals with the objective of distributed radiological image analysis and quantification. For more information, please also take a look at our recent publication of the Kaapana- based Joint Imaging Platform in JCO Clinical Cancer Informatics (JCO). 2 CHAPTER TWO GETTING STARTED This manual is intended to provide a quick and easy way to get started with Kaapana. Kaa- pana is not a ready-to-use software but a toolkit that enables you to build the platform that fits your specific needs. The steps described in this guide will build an example platform, which is a default configuration and contains many of the typical platforms components. This basic platform can be used as a starting-point to derive a customized platform for your specific project. 2.1 What’s needed to run Kaapana? 1. Host System You will need some kind of server to run the platform on. Minimum specs: • OS: CentOS 8, Ubuntu 20.04 or Ubuntu Server 20.04 • CPU: 4 cores • Memory: 8GB (for processing > 30GB recommended) • Storage: 100GB (deploy only) / 150GB (local build) -> (recommended >200GB) 2. Container Registry Hint: Get access to our docker registry In case you just want to try out the platform, you are very welcome to reach out to us via slack or email. In this case, we will provide you credentials to our docker registry from which you can directly install the platform and skip the building part! To provide the services in Kaapana, the corresponding containers are needed. These can be looked at as normal binaries of Kaapana and therefore only need to be built if you do not have access to already built containers via a container registry. This flow-chart should help you to decide if you need to build Kaapana and which mode to choose: 3 DKTK Kaapana Technical Documentation, Release 0.1.1 3. Build Build Kaapana 4. Installation Install Kaapana 2.1. What’s needed to run Kaapana? 4 CHAPTER THREE BUILD KAAPANA 3.1 Build Requirements Important: Disk space needed: For the complete build of the project ~50GB of container images will be stored at /var/snap/docker/common/var-lib-docker. If you use build-mode local it will be ~120GB since each container will be also imported separately into containerd. In the future we will also provide an option to delete the docker image after the import. Before you get started you should be familiar with the basic concepts and components of Kaapana see What is Kaapana?. You should also have the following packages installed on your build-system. We expect the sudo systemctl restart snapd 1. Dependencies Ubuntu Centos sudo apt update && sudo apt install -y curl git python3 python3-pip sudo yum install -y curl git python3 python3-pip 2. Clone the repository: git clone https://github.com/kaapana/kaapana.git 3. Python requirements python3 -m pip install -r kaapana/build-scripts/requirements.txt 5 DKTK Kaapana Technical Documentation, Release 0.1.1 4. Snap Ubuntu Centos Check if snap is already installed: snap help --all If not run the following commands: sudo apt install -y snapd A reboot is needed afterwards! Check if snap is already installed: snap help --all If not run the following commands: sudo yum install -y epel-release sudo yum update -y sudo yum install snapd sudo systemctl enable --now snapd.socket sudo snap wait system seed.loaded 5. Docker sudo snap install docker --classic --channel=latest/stable 6. In order to docker commands as non-root user you need to execute the following steps: sudo groupadd docker sudo usermod -aG docker $USER For more information visit the Docker docs 7. Helm sudo snap install helm --classic --channel=3.5/stable 8. Reboot sudo reboot 9. Test Docker docker run hello-world -> this should work now without root privileges 10. Helm plugins 3.1. Build Requirements 6 DKTK Kaapana Technical Documentation, Release 0.1.1 helm plugin install https://github.com/chartmuseum/helm-push helm plugin install https://github.com/instrumenta/helm-kubeval 3.2 Build modes If you don’t have access to a container registry with already built containers for Kaapana, you need to build them first. This is comparable to a binary of regular software projects - if you already have access to it, you can continue with step 3. The complete build will take ~1h (depending on the system)! Currently Kaapana supports two different build-modes: 1. Local build By choosing this option you will need no external container registry to install the platform. All containers will be build and used locally on the server. 2. Container registry This option will use a remote container registry. Since we’re also using charts and other artifacts, the registry must have OCI support . We recommend Gitlab or Harbor as registry software. Unfortunately, Dockerhub does not yet support OCI,
Recommended publications
  • See It Big! Action Features More Than 30 Action Movie Favorites on the Big
    FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films
    [Show full text]
  • Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation
    AN ABSTRACT OF THE THESIS OF Adam C. Hughes for the degree of Master of Arts in Applied Ethics presented on July 15, 2013 Title: Abandoning the Girl's Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation Abstract approved: Flora L. Leibowitz In regards to animation created and aimed at them, girls are largely underserved and underrepresented. This underrepresentation leads to decreased socio-cultural capital in adulthood and a feeling of sacrificed childhood. Although there is a common consensus in entertainment toward girls as a potentially deficient audience, philosophy and applied ethics open up routes for an alternative explanation of why cartoons directed at young girls might not succeed. These alternative explanations are fueled by an ethical contract wherein producers and content creators respect and understand their audience in return for the privilege of entertaining. ©Copyright by Adam C. Hughes July 15, 2013 All Rights Reserved Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation by Adam C. Hughes A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 15, 2013 Commencement June 2014 Master of Arts thesis of Adam C. Hughes presented on July 15, 2013 APPROVED: Major Professor, representing Applied Ethics Director of the School of History, Philosophy, and Religion Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes the release of my thesis to any reader upon request. Adam C. Hughes, Author ACKNOWLEDGEMENTS This author expresses sincere respect for all animators and entertainers who strive to create a better profession for themselves and their audiences.
    [Show full text]
  • Jay & Silent Bob Reboot
    Presents JAY & SILENT BOB REBOOT A film by Kevin Smith 105 mins, USA, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com JAY AND SILENT BOB REBOOT SYNOPSIS: The stoner icons who first hit the screen 25 years ago in CLERKS are back! When Jay and Silent Bob discover that Hollywood is rebooting an old movie based on them, the clueless duo embark on another cross-country mission to stop it all over again! 1 CAST & CREW BIOGRAPHIES: KEVIN SMITH (Silent Bob, Director / Writer) Kevin Smith has been saying silly cinematic shit since his first film Clerks, released way back in 1994. He had a heart attack and almost died last year but survived solely so he could direct his magnum opus, Jay and Silent Bob Reboot. A polygamist, he’s married to both his wife Jen and podcasting. JASON MEWES (Jay) Jason Mewes most recently made his directorial debut on MADNESS IN THE METHOD, which was released in August 2019. With cult-fans following his controversial antics, Mewes has captured audiences with his rebellious banter against his unspoken other half and longtime friend, Kevin Smith. Since the beginning of the duo’s offbeat work together, Mewes and Smith have continued to build on their beloved character-driven roles from the Jay and Silent Bob series. It’s been over a decade since fans last saw the duo in live- action, but they’re back along with a star-studded cast in the upcoming comedy film, JAY AND SILENT BOB REBOOT.
    [Show full text]
  • Sale Results Made by the Sale Company and May Be Different Than Results Previously Reported
    For the latest news, go online to http://auctions.bloodhorse.com DISCLAIMER: Current year figures reflect fall of the hammer prices and any private sales reported by the sale company. Figures for the previous year include any revisions Sale Results made by the sale company and may be different than results previously reported. 39. C, Speightstown—TAJ AIRE, by Taj Alriyadh (Dromoland Farm, 80. C, Street Cry (IRE)—Ascot Starre, by Ascot Knight (Four Star KEENELAND agent)—John Ferguson ..................................................$700,000 Sales, agent)—John Ferguson .......................................$300,000 40. C, Storm Cat—Takesmybreathaway, by Gone West (Lane’s End, 81. F, Giant’s Causeway—AZERI, by Jade Hunter (Hill ‘n’ Dale Sales SEPTEMBER YEARLING SALE (SEPT. 14-28) agent)—Tom Tate ...........................................................$300,000 Agency, agent)—Robert & Lawana Low.........................$800,000 2009 2008 CHANGE 41. F, Bernardini—TAP YOUR HEELS, by Unbridled (Dromoland Farm, 83. F, Distorted Humor—BE GENTLE, by Tale of the Cat (Taylor Made NUMBER SOLD 3159 3605 -12.4% agent)—BBA Ireland.......................................................$500,000 Sales Agency, agent)—Westrock Stables .......................$325,000 GROSS $191,859,200 $327,999,100 -41.5% 42. F, Medaglia d’Oro—Tastetheteardrops, by What Luck (Paramount 84. F, Forestry—BELLE OF PERINTOWN, by Dehere (Stonestreet AVERAGE $60,734 $90,984 -33.2% Sales, agent)—John Ferguson .......................................$300,000 Thoroughbred Holdings)—Talons ...................................$150,000 MEDIAN $22,000 $37,000 -40.5% 43. C, Smart Strike—The in Thing, by Wild Again (Pope McLean, 85. C, Speightstown—Belle Turquoise (FR), by Tel Quel (FR) (Fares Farm, Warrendale Sales, agent)—Hong Kong Jockey Club, Cash PERCENT RNA 1201/27.5% 1190/24.8% agent) ...............................................................($70,000) Not sold 44.
    [Show full text]
  • Jim Su Character / Creature Supervisor [email protected]
    Jim Su Character / Creature Supervisor [email protected] Summary Portfolio and online demo reel: (NEW) Demoreel 2016 https://vimeo.com/156936732/jimsuDemoreel2016 Specialties: Expert in Facial blendshapes (Visemes and FACS), Facial rigging and methodology. Maya cMuscle system, nCloth. Please visit my site www.beach-studios.com for examples. Software - Maya, Houdini, 3ds Max, Faceware, Photoshop, Illustrator, After Effects Scripting - Python, MEL, Hscript, HTML, Traditional Illustration - Pencils, Inks, Colouring Experience Character / Creature Supervisor at Zoic Studios May 2016 - Present (8 months) CEO at Beach Creative Studios Inc. March 2005 - Present (11 years 10 months) I run a Creative Services Studio that caters to high end clients including: Mattel, Hasbro, Image Metrics, and Spin Master. My studio also publishes comic books, artbooks, licensed products. Package and Product illustrations for Mattel (Wheels Division: Matchbox and Tyco) Product illustrations for Hasbro (Milton Bradley: Indiana Jones, Transformers 2, Marvel Superhero Squad) Package illustrations for Spin Master (Bakugan, Sto and Go) CG modelling for Image Metrics (Foodfight!) Publisher of Crozonia comic book. Publisher of the Art of ReBoot. Publisher of the upcoming Storm Hawks comic book! Senior Creature TD at Double Negative April 2015 - May 2016 (1 year 2 months) Page1 Senior Rigger - Star Trek: Beyond, Through The Looking Glass, Miss Peregrine's Home for Peculiar Children - Developing vfx facial rig. - Implement Faceware (Facial motion capture) into workflow. - Rig Tall ship with procedural movements. - Redesigned Cloth Rig for Tall ship. Rigging Supervisor at Scanline VFX August 2012 - April 2015 (2 years 9 months) In charge of making sure hundreds of assets are promptly rigged and export ready in the Maya to Max pipeline.
    [Show full text]
  • WF-C20590 Series
    WorkForce Enterprise Administrator's Guide NPD5680-03 EN Administrator's Guide Contents Contents Copyright Print Settings for Peer to Peer Connection......35 Basic Settings for Printing..................37 Setting the Server or the Shared Folder..........41 Trademarks Relation between the Server and Each Function. .41 Configuring a Mail Server................. 41 About this Manual Shared Folder Settings....................46 Marks and Symbols.........................7 Using Contacts........................... 63 Descriptions Used in this Manual...............7 Destination Setting Features................63 Operating System References..................7 Configuring Contacts.....................63 Backing Up and Importing Contacts..........67 Cooperation between the LDAP Server and Introduction Users.................................68 Manual Component.........................9 Using Scan Functions.......................73 Terms Used in this Guide....................10 Scanning From a Computer................73 Terms................................10 Scanning using the control panel............ 74 Example of Network Environment........... 11 Using Document Capture Pro Server......... 75 Printer Connection Types..................14 Making System Settings.....................76 Setting the Control Panel..................76 Printer Settings and Management Power Saving Settings During Inactivity.......77 Setting the Sound........................77 Flow of the Printer Settings and Management. 16 Synchronizing the Date and Time with Time Network
    [Show full text]
  • Download but Allow In-App Purchases
    FINDING CAMELITTLE: CHILDRENS TELEVISION IN A DIGITAL AGE ____________________________________________________ A Thesis Presented to The Honors Tutorial College Ohio University ____________________________________________________ In Partial Fulfillment Of the Requirements for Graduation From the Honors Tutorial College With the degree of Bachelor of Science in Media Arts and Studies ____________________________________________________ By Ryan H. Etter June 2011 FINDING CAMELITTE 2 This thesis is dedicated to all those who have worked in children’s entertainment before me. From the Saturday morning cartoons, to feature length movies, I would like to thank the people who not only gave me a childhood, but also gave me passion and direction as an adult. FINDING CAMELITTE 3 Table of Contents INTRODUCTION……………………………………………………………………4 CHAPTER 1: THE INDUSTRY………….………………………………………….8 CHAPTER 2: MAKING AN ANIMATED PROGRAM………………….………...16 CHAPTER 3: DEVELOPING CONTENT IN A DIGITAL AG…………………….24 CHAPTER 4: THE AUDIENCE………………..……………………………………43 CHAPTER 5: CAMELITTLE…………..……………………………………………51 REFERENCES………………….……………………………………………………73 CAMELITTLE PILOT DVD…………………………………………………Appendix FINDING CAMELITTE 4 Finding Camelittle: Children’s Television in a Digital Age Long ago and far away there was a land called Camelot. It was a kingdom ruled by the great king Arthur who was a virtuous and wise monarch. His reign was presented as idyllic and he was considered the model ruler. Many have used the imagery of Arthur’s Camelot to describe prosperous times in history, from the JFK presidency to the “Golden Age of Television.” For young children, the world is shaped by much smaller things than presidents or politics and, for myself; the world existed not only in my home or at school, but in the wonderfully imaginary places created in cartoons.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting Template
    MALFUNCTION IN MEDIA: UNINTENDED CONSTRAINT AND THE DURABLE AESTHETIC By REX P. KRUEGER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Rex Krueger 2 To Angela, for typing, for editing, for everything 3 ACKNOWLEDGMENTS I would like to thank my dissertation director, Terry Harpold, without whom I never would have attempted this project, and without whose enthusiastic support, I would not have finished. I would also like to thank my committee, Roger Beebe, Amy Ongiri and Alex Reed, all of whom were more than generous with their time and insight. Thanks go to my wife, Angela, to whom this project is dedicated. Many thanks also go to the University of Florida Department of English for building an environment where this kind of work is welcome. I must also thank Kenneth Kidd who was an inspiring teacher and very capable administrator during my time here. I would like to thank Anastasia Ulanowicz for being a consistent role-model, always treating graduate students like colleagues, and for writing me a letter. Additionally, Donald Ault gave excellent feedback on some of my dissertation and welcomed me onto the staff of his journal. I must thank all of my past mentors, but especially to Mike Shea and Candace Barrington, gifted professors who inspired me to go into the profession in the first place, and who still feed me from time to time. I must also thank the staff of the journal ImageTexT, from whom I learned a great deal about academic publishing.
    [Show full text]
  • Intersectionality Title Page 2.Tif
    TABLE OF CONTENTS PROLOGUE ................................................................................................................. 3 PART 1 ........................................................................................................................ 7 PART 2 ...................................................................................................................... 19 PART 3 ...................................................................................................................... 34 PART 4 ...................................................................................................................... 49 PART 5 ...................................................................................................................... 64 EPILOGUE ................................................................................................................. 79 2 PROLOGUE The Spooky Action at a Distance , patrolling the Allowed Zone border Dropping into slow time always caused Chak a moment of disorientation. The parallel autosequencer on board the Spooky Action at a Distance tied into the shared xonasphere of the systems of the Human Confederation via realtime quantum entanglement. The system dated to the ship's last retrofit some 26 Ny Norge months ago, and was therefore, of course, hopelessly obsolete. Nonetheless, Chak was able to keep up with his social life of some 7.294 x 10 6 friends, acquaintances, former coworkers, former shipmates, former lovers, current lovers, fellow wine aficionados,
    [Show full text]
  • Animated Television: the Narrative Cartoon” Was Originally Published in the Third Edition of Jeremy G
    “Animated Television: The Narrative Cartoon” was originally published in the third edition of Jeremy G. Butler, Television: Critical Methods and Applications (Mahwah, NJ: Erlbaum, 2007), 325-361. It was not included in subsequent editions of Television and consequently it was placed online, although not in the public domain. All © copyrights are still reserved. If citing this chapter, please use the original publication information (above). Questions? Contact Jeremy Butler at [email protected] or via TVCrit.com. ch11_8050_Butler_LEA 8/11/06 8:46 PM Page 325 CHAPTER 11 Animated Television: The Narrative Cartoon Beginnings The Aesthetics of the 1930s Sound Cartoon: Disney’s Domination UPA Abstraction: The Challenge to Disney Naturalism Television’s Arrival: Economic Realignment TV Cartooning Since the 1980s Summary edition FurtherTELEVISION Readings 3rd nimation has had a rather erratic presence on television. A A mainstay of Saturday morning children’s programming, small snippets of it appear regularly in commercials,TVCrit.com credit sequences, music videos, news and sports, but there have been long stretches when there were no prime-time cartoon shows. After The Flintstones ended its original run in 1966 there wasn’t another successful prime-time show until 23 years later, when The Simpsons debuted. Since 1989 there has been something of a Renaissance in television animation. Numerous prime-time cartoon pro- grams have appeared and at least three cable channels have arisen that fea- ture cartoons—the Cartoon Network, Nickleodeon, and Toon Disney. And, of course, cartoons continue to dominate the TV ghettos of Saturday morn- ing and weekday afternoons. Although numerous new animated programs are now being created, many of the cartoons regularly telecast today were produced fifty, sixty, or even seventy years ago.
    [Show full text]
  • 13 Naruto / Anime Klassiker Der Spielegeschichte 4
    Klassiker der Spielegeschichte 4 13 Naruto / Anime 2. Februar 2012 Dr. Stefan Werning | Universität Bayreuth | Digitale Medien | [email protected] Monday, February 6, 2012 Gängige Typen von Manga/Anime Seinen (männl., 18-30) Kodomo (Kinder) Shōnen (männl., 10-18) Shōjo (weibl., 10-18) Josei (weibl., 15-44) Monday, February 6, 2012 Besonderheiten transmedialer Erzählung im Shonen Manga/Anime ‣ Spannungsverhältnis von Manga/Anime als erzählerischer Kern ‣ zeitlich versetzt, Anime ergänzt und rekontextualisiert bereits bekannte Szenen ‣ Ian Condry: Anime geht nicht von Geschichten aus sondern von “characters, premises & world settings” (anime creativity) ‣ Immer kampfbetonte storytelling engine und männliche Protagonisten Monday, February 6, 2012 Elemente der Naruto-Franchise ‣ Welt aufgeteilt in Städte/Regionen, die nach Elementen differenziert sind ‣ zeitlich unspezifische Welt ‣ Verknüpfung japanischer Mythologie mit generischen Fantasy-Elementen ‣ ebenfalls nach Elementen aufgeteilte Kampftechniken (jutsus) ‣ Reboot: Naruto Shippuden ‣ zielgruppengerechte Vermittlung von Werten und Mikroerzählungen: Naturtalent vs. harte Arbeit, Schutz der Kinder, Umgang mit erlebten Härten und Wunsch nach Vergeltung, Bedeutung der Familie, Ausgrenzung Andersartiger Monday, February 6, 2012 Rezeptionsmodi von Shonen-Anime ‣ Meta-Spiele: ‣ How to fight Sharingan in 1vs1 fight ? ‣ EMS sasuke vs. KCM naruto? ‣ Elemente der Serie werden konzeptionell zergliedert und spekulativ neu kombiniert um selbstgestellte Fragen zu beantworten ‣ Kämpfe in
    [Show full text]
  • Massive Licensed Live Shows Soar Into US Arenas P31 Russian Animators Open up to Co-Production Opps
    Russian animators open up Massive licensed live shows Licensing Show—Large licensors to co-production opps p17 soar into US arenas p31 making big wagers in Las Vegas p46 engaging the global children’s entertainment industry A publication of Brunico Communications Ltd. MAY/JUNE 2012 2 CANADA POST AGREEMENT NUMBER 40050265 PRINTED IN CANADA USPS AFSM 100 Approved Polywrap CANADA POST AGREEMENT NUMBER 40050265 PRINTED IN USPS AFSM 100 Approved Inside May/June 2012 moves 9 Amazon dishes more details on its new kids TV production model How I Did It—Holly Stein on her move from the ad world to Barbieville tv 17 Backed by new funding, Russian studios pursue global co-pro opps Tuning In—Disney Junior appeals to mom connection with new US channel consumer products 31 Oversized licensed stage spectacles prepare to invade US arenas Licensee Lowdown—Random House portfolio goes on a growth spurt kid insight 43 Nickelodeon provides a sneak-peek into new study, The Global Family Muse of the Month—10-year-old 29 Gabe talks Google, tortoises and TV Aardman’s Shaun the Sheep gets into the spirit of the London Olympics in new series Championsheeps Special Licensing Show 46 Licensors make big bets in Vegas and analysts weigh in. We also take Report an advance look at some of this year’s more promising properties. Shut Up! Do new Ha! Ha! Hairies See what’s Care Bears reboot Farm animals toons really have a combs for headed into and go retro for with super powers, 14 YouTube Channel? 26 laughs 28 the Pipeline 41their 30th 52 see for yourself! Cover Our editorial cover features Nickelodeon’s Teenage Mutant Ninja Turtles—the new generation—headed to screen and shelves later this year.
    [Show full text]