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Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Parts List Cover Sheet
Genco Mine Service P.O. Box 581 Phone (435) 687-2464 630 North 400 East Fax (435) 687-9256 Huntington, Utah 1 (800) 662-1257 84528 [email protected] PARTS LIST Bucyrus, Fletcher, Joy, & Wagner. Components for Bucyrus & Joy January 2011 We appreciate your business, Thank You! PARTS LIST Bucyrus Parts Part Number Description 010176 Nut 010177X1 Spacer 010179 Flange 012300-1 Shaft 012300-11 Pin 012300-3 Cable Guide 012300-4 Bracket 012300-5 Bushing 012300-7 Spring 012300-8 Guide 012300-9 Pin 012336 Pin 012588X1 Bumper 013627X1-1 U-Joint 016848X1 Bearing 016863X1 Pin 016863X2 Pin 016914 Spacer 016918 Center Section Assembly 0201819 Strainer 0902812 Accelerator 1090180 Switch 1090182 Switch 1090387 Switch 1110149 Contact 1190380 Plug 14149-009 Shaft 14150-080 Coupling 14928-000 Cap 17076X3 Filter 2050000 Master Cylinder 210147 Switch 211044 Valve 2457 Nut Page 1 PARTS LIST Bucyrus Parts Part Number Description 286035 Retainer 290098 Pin 292505 Pin 293D1A1 Shaft 293D1B2 Splined 293D1B3 Flinger 293D1B4 Gear 293D1B5 Shaft 295217 Valve 3/8 X 4 Cotter Pin 3/8 X 5 Cotter Pin 3006-7839 Contr 76/114V 3030253 Gear 3030268 Gear 3030314 Pinion 3030318 Pinion 305E151 Filter 3060589 Shaft 3066458 Drive Shaft Assembly 3097483 Nut 3120230 Bushing 3120231 Split Brass 3126 CL Conn Link 3150139 Spring 3150155 Spring 3210038 Brake Disc 3210050 Washer 3210083 Brake 3230114 Shim 3230139 Shim 3230140 Shim 3410108 Cover 34427 Tip 3908-0106 Monitor 3908-1237 Filter 4-010010-530 Hub 4-010018-003 Motor Page 2 PARTS LIST Bucyrus Parts Part Number Description 4-010468-300 -
Imagined Identity and Cross-Cultural Communication in Yuri!!! on ICE Tien-Yi Chao National Taiwan University
ISSN: 2519-1268 Issue 9 (Summer 2019), pp. 59-87 DOI: 10.6667/interface.9.2019.86 Russia/Russians on Ice: Imagined Identity and Cross-cultural Communication in Yuri!!! on ICE tien-yi chao National Taiwan University Abstract Yuri!!! on ICE (2016; 2017) is a Japanese TV anime featuring multinational figure skaters com- peting in the ISU Grand Prix of Figure Skating Series. The three protagonists, including two Russian skaters Victor Nikiforov, and Yuri Purisetsuki (Юрий Плисецкий), and one Japanese skater Yuri Katsuki (勝生勇利), engage in extensive cross-cultural discourses. This paper aims to explore the ways in which Russian cultures, life style, and people are ‘glocalised’ in the anime, not only for the Japanese audience but also for fans around the world. It is followed by a brief study of Russian fans’ response to YOI’s display of Russian memes and Taiwanese YOI fan books relating to Russia and Russians in YOI. My reading of the above materials suggests that the imagined Russian identity in both the official anime production and the fan works can be regarded as an intriguing case of cross-cultural communication and cultural hybridisation. Keywords: Yuri!!! on ICE, Japanese ACG (animation/anime, comics, games), anime, cross-cul- tural communication, cultural hybridisation © Tien-Yi Chao This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. http://interface.ntu.edu.tw/ 59 Russia/Russians on Ice: Imagined Identity and Cross-cultural Communication in Yuri!!! on ICE Yuri!!! on ICE (ユーリ!!! on ICE; hereinafter referred to as YOI)1 is a TV anime2 broadcast in Japan between 5 October and 21 December 2016, featuring male figure skaters of various nationalities. -
A Case Study of Anime Fansubbing
King’s Research Portal DOI: 10.1177/0163443711418271 Link to publication record in King's Research Portal Citation for published version (APA): Lee, H. K. (2011). Participatory media fandom: a case study of anime fansubbing. Media Culture & Society, 33(8), 1131-1147. https://doi.org/10.1177/0163443711418271 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
How to Draw Poses for Beginners Anime
1 How To Draw Poses For Beginners Anime Drawing the neck. Beware Too Much Praise. If you haven t seen Akira, it takes place in an unfriendly and foreboding urban, post-apocalyptic Tokyo, named Neo-Tokyo , populated by biker gangs and other cyberpunk elements which have stood the test of time. Once again consider the running pose for the legs in this particular pose. However, just be wary of where the source of praise is coming from, especially if you are looking for a deep, critical eye for your work. the whole way through. Let s examine some of the fundamentals of the running pose, followed by a step-by-step breakdown of how to do it yourself. Keep the arms bent at the elbow. Drawing the neck in a punching pose will have you drawing it a bit tilted forward, and motley tucked into the front of the torso and under the chin. This could also vary, as you could have the character s head be parallel to the ground if your character is really sprinting. I was perusing the Internet as I often do, and I found a video of the talented team of animators who were in charge of creating environments and stills for the 1988 movie, Akira. Any good, action-packed anime involves multiple running poses to put characters in. This is where the concept of constructive criticism comes in. The Itano Circus creates mind-blowing visuals, especially in animes that are fast-paced. Drawing the Arms. Final Thoughts. Drawing the Head. Drawing the legs is where the figure really starts to take shape. -
Digital Radio Technology and Applications
it DIGITAL RADIO TECHNOLOGY AND APPLICATIONS Proceedings of an International Workshop organized by the International Development Research Centre, Volunteers in Technical Assistance, and United Nations University, held in Nairobi, Kenya, 24-26 August 1992 Edited by Harun Baiya (VITA, Kenya) David Balson (IDRC, Canada) Gary Garriott (VITA, USA) 1 1 X 1594 F SN % , IleCl- -.01 INTERNATIONAL DEVELOPMENT RESEARCH CENTRE Ottawa Cairo Dakar Johannesburg Montevideo Nairobi New Delhi 0 Singapore 141 V /IL s 0 /'A- 0 . Preface The International Workshop on Digital Radio Technology and Applications was a milestone event. For the first time, it brought together many of those using low-cost radio systems for development and humanitarian-based computer communications in Africa and Asia, in both terrestrial and satellite environments. Ten years ago the prospect of seeing all these people in one place to share their experiences was only a far-off dream. At that time no one really had a clue whether there would be interest, funding and expertise available to exploit these technologies for relief and development applications. VITA and IDRC are pleased to have been involved in various capacities in these efforts right from the beginning. As mentioned in VITA's welcome at the Workshop, we can all be proud to have participated in a pioneering effort to bring the benefits of modern information and communications technology to those that most need and deserve it. But now the Workshop is history. We hope that the next ten years will take these technologies beyond the realm of experimentation and demonstration into the mainstream of development strategies and programs. -
Anime and Manga for the 2017 Florida Conference of Historians
H-Ethnic CFP: Anime and Manga for the 2017 Florida Conference of Historians Discussion published by Daniel Fandino on Thursday, April 21, 2016 Type: Call for Papers Date: November 12, 2016 Location: Florida, United States Subject Fields: American History / Studies, Japanese History / Studies, Popular Culture Studies, World History / Studies Florida Conference of Historians 2017 Annual Meeting Florida Southwestern State College March 10-12, 2017 | Punta Gorda, FL http://www.floridaconferenceofhistorians.org The Media, Arts, and Culture Special Interest Section of the Florida Conference of Historians (FCH) invites proposals on anime, manga and related topics for its 57th annual meeting. Other aspects of East Asian popular culture will also be considered. The FCH accepts proposals in four categories: individual papers, panels, posters, and film/media. Early-career scholars, graduate students, undergraduates, and independent researchers are especially encouraged to submit proposals. Video, animation, and interactive media submissions are particularly welcome. Potential areas/topics the proposals can address include: Fan culture and practices – cosplay, fansubbing, conventions Regionalization and censorship Influences on American popular culture The use of anime and manga in the classroom Depictions of history in anime The 25th anniversary of the Sailor Moon anime Japanese – American co-productions Anime production companies: Studio Ghibli, Shaft, Gainax Japanese soft power U.S. – Japan relations Selected papers will be considered for publication in theFCH Annals: Journal of the Florida Conference of Historians, a peer-reviewed journal. Papers published in the journal are eligible to compete for prizes in several categories: the Thomas M. Campbell Award (faculty and independent scholars), the Blaine Browne Award (graduate students), and the J. -
Aniplex of America Announces U.S. Premiere of -KIZUMONOGATARI- PART 2: NEKKETSU
FOR IMMEDIATE RELEASE August 13, 2016 Aniplex of America Announces U.S. Premiere of -KIZUMONOGATARI- PART 2: NEKKETSU ©NISIOISIN/KODANSHA, ANIPLEX, SHAFT SANTA MONICA, CA (August 13, 2016) –Aniplex of America announced today at their industry panel at OTAKON (Baltimore, MD), their plans to premiere -KIZUMONOGATARI- PART 2: NEKKETSU in the U.S. starting in October 2016. This is the highly anticipated second installment of the -KIZUMONOGATARI- film trilogy. Aniplex of America premiered the first film, -KIZUMONOGATARI- PART 1: TEKKETSU this past February across the U.S. and also in Canada starting on August 28th. Aniplex of America also confirmed that theater patrons will receive an exclusive giveaway item with each purchased ticket while supplies last. Ticket sales for -KIZUMONOGATARI- PART 2: NEKKETSU will begin at a later date through the official -KIZUMONOGATARI- website (www.Kizumonogatari-USA.com). -KIZUMONOGATARI- PART 2: NEKKETSU will be distributed by AZOLAND PICTURES in the original Japanese language with English subtitles. -KIZUMONOGATARI- PART 2: NEKKETSU features the origin story of the highly popular Monogatari Series originally created by author NISIOISIN and is a direct prequel to the BAKEMONOGATARI television series. The story follows the protagonist Koyomi Araragi and his encounter with the horrifying vampire, Kiss-shot Acerola-orion Heart-under-blade A.K.A. the “King of Apparitions.” Koyomi saves the fatally wounded Kiss-shot by offering his blood to her in exchange for his own life as a human. This highly anticipated film will be bringing together an all-star creative staff including Director Tatsuya Oishi (Series Director of BAKEMONOGATARI), Character Designer Akio Watanabe, who worked on the entire Monogatari series, and Chief Director Akiyuki Shimbou (Madoka Magica, Monogatari Series, NISEKOI). -
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Filmfestivals
7G:>I:CH::G 6C>B:cover ;>AB;:HI>K6A ?6E6C>H8=:IG>8@;>AB: &+#.#'%%,W^h&%#&#'%%- 7gZ^iZchZZgHigVZ'&!&&)%! IZa#.-''&,(!lll#Wha#Vi#i[ ANIME FILME Einer dieser neuen Versuche war die von Isao Takahata und Hayao Miyazaki gemeinsam geschaffene und von Zuiyo Enterprise produzierte Anime-Serie Heidi nach einem Roman der Schweizer Schriftstellerin Johanna Spyri, die Anfang Januar 1974 ins Fernsehen kam. Ihr Erfolg veranlasste das 1975 in Nippon Im Jahr 1914 wurden in Japan erstmals US-amerikanische, britische und französische Kurztrickfilme Animation umbenannte Studio zur Gründung des Projektes World Masterpiece Theater (kurz WMT). Ab 1975 gezeigt. Japanische Filmgesellschaften begannen daraufhin, Zeichner für die Produktion eigener Animati- wurde unter diesem Namen jedes Jahr eine Fernsehserie auf der Grundlage eines internationalen litera- onsfilme einzustellen. Die ersten drei japanischen Trickfilme, schwarz-weiß, stumm und mit einer Laufzeit rischen Werkes produziert, so etwa Niklaas, ein Junge aus Flandern nach einem Roman der Engländerin von wenigen Minuten, wurden 1917 im Abstand von wenigen Wochen veröffentlicht. Marie Louisa de la Ramée, Marco nach einem Buch des Italieners Edmondo de Amicis oder Anne mit den Der bedeutendste der frühen Pioniere war Seitar_ Kitayama. Sein Film Momotar_ (Pfirsichjunge) aus roten Haaren nach einem Roman der Kanadierin Lucy Maud Montgomery. Obwohl viele herausragende dem Jahr 1918 lief 1921 in Paris und war damit der erste außerhalb Japans gezeigte japanische Trick- Animationskünstler an diesen Serien mitarbeiteten und deren internationale Popularität auch heute noch film. 1921 gründete er das erste japanische Trickfilmstudio Kitayama Eiga Seisaku-sho, in dem nicht nur unvermindert anhält, musste Nippon Animation das WMT-Projekt 1997 aufgrund finanzieller Probleme und Unterhaltungsfilme, sondern auch Animationen für Lehr- und Ausbildungszwecke entstanden. -
Wolf Children
PRESENTS WOLF CHILDREN A MAMORU HOSODA FILM Running time: 117 minutes Certificate: TBC Opens at UK cinemas on 25th October Press Contacts Elle McAtamney – [email protected] For hi-res images/production notes and more, go to – www.fetch.fm To the children, a movie like a delightful, fun fairy tale… To the youth, to make raising children, which they have yet to experience, seem full of surprises and wonder… And to the parents, to let them reminisce about their children’s growth… I am striving to make an invigorating movie that satisfies the principles of entertainment. Mamoru Hosoda Director, screenwriter, author of original story INTRODUCTION The long-awaited new film by Director Mamoru Hosoda! Yet another movie that enthralls people of all generations!! In “The Girl Who Leapt Through Time” (2006), he depicted the radiance of youth in flashing moments of life. In “SUMMER WARS” (2009), he told a story about a miracle, of how the bond between people saved Earth’s crisis, and the film swept awards domestic and abroad. Mamoru Hosoda has become the most noted animation director in the world. Why do his works appeal to people of all generations? His stories are not about the extraordinary, and they are not about superheroes. Set in towns that could really exist, the main characters are surrounded by ordinary people and are troubled by slightly unique circumstances, which they struggle to overcome. Based on well-thought-out scenarios, these real-to-life stories are made into dynamic animation. That’s why the main characters seem so familiar to us and draw our sympathy, and we get excited watching how they fare. -
El Anime De Los Noventa Como Un Reflejo De La Interacción Entre El Hombre/Usuario E Internet
UNIVERSIDAD JUAN AGUSTÍN MAZA FACULTAD DE PERIODISMO LICENCIATURA EN COMUNICACIÓN SOCIAL DE LO FANTÁSTICO A LO REAL: EL ANIME DE LOS NOVENTA COMO UN REFLEJO DE LA INTERACCIÓN ENTRE EL HOMBRE/USUARIO E INTERNET Alumna: Lourdes Micaela Arrieta Tutor disciplinario: Lic. Andrea Ginestar Tutor metodológico: Lic. Guillermo Gallardo MENDOZA 2016 Mediante la presente tesina y la defensa del mismo aspiro al título de Licenciatura en Comunicación Social. Alumno: Lourdes Micaela Arrieta DNI: 37.298.417 Matrícula: 2.029 Fecha del examen final: Docentes del Tribunal Evaluador: Calificación: Lourdes Micaela Arrieta I DEDICATORIA “Entonces, cuando aprendió a navegar por la Red, nuestro mundo se derrumbó. Se dejó llevar por los signos calientes y empezó conocer sin caras. Los perfiles adúlteros de los espectros femeninos (y si es que los eran), condujeron a desconocernos. Fue, cuando como espías cibergálacticos, incursionamos (los tres) a engañar a las maestras de la seducción virtual. ¡Qué fácil era embaucar con datos falsos las ilusiones de las destructoras de familias! Parece ser, son las mujeres de entre 40 y 50 años de viejas, las que se registran para jugar a los detestables clicks en los “gatos” (o chats) y las redes sociales (no lo sé, me imagino una red pesquera y alrededor cientos de individuos, en un mismo bote, todos hablándole a la mar) y pretenden, quizá, escapar de sus maridos, sus hijos u otro contacto ‘romántico’. No le hallo la gracia… De adolescente me pasaba un largo rato en Internet; indagaba cómo burlar los datos, aunque no son conocimientos de un hacker, es más básico. Pensándolo bien, no logro comprender el dolor de ella, ante semejantes artimañas de él, y tampoco de él, el querer abandonarnos por signos efímeros y ¿reales? Lo cierto, es que con mi hermano llorábamos muy mucho.