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APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program
APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program Midtown Alliance launched the Tree Well Adoption program with the primary goal of enriching the experience of Midtown’s workers and residents while encouraging sustainability through the use of low-water, urban tolerant plant species. This list of plants was created to aid individuals and organizations in selecting plant material to plant in their adopted tree wells. This plant list is intended to encourage individual character in the tree wells, rather than restrict creativity in the selection of plants. The plants on the approved list were selected based on the following criteria: • Perennial. All plants listed are perennial, meaning they last for two or more growing seasons. Once established, these plants will require less water to maintain than annuals. • Heat tolerant. Plants in tree wells are exposed to high temperatures caused by vehicles and heat reflected from surrounding buildings, asphalt, and other urban surfaces. They must also be tolerant to high daytime temperatures, typical of Atlanta’s summer months, and cold hardy in the winter months. Atlanta is located in USDA Plant Hardiness Zone 7b/8a. • Water wise. Urban tree wells are surrounded by impervious surfaces and thus, are highly susceptible to periods of drought. Suitable plants must be able to survive periods of low rainfall. • Pollution tolerant. Vehicle exhaust may leave deposits and pollutants on plant foliage, which can kill sensitive plants. • Encourage wildlife. Flowering plants attract insects such as butterflies while others provide food sources for birds and other wildlife. • Grown locally. Many of the plants listed are native to the Atlanta area, and all can be found at local nurseries. -
Kore-Eda Event Notes
Family Life with Kore-eda Hirokazu Introduction their application in stories about ‘ordinary’ Japanese Kore-eda Hirokazu (born Tokyo, 1962) is currently the families coping with the move from tradition to leading Japanese director in the international film modernity in contemporary Japan that appears to be world. His last few films have seen his popularity rise Kore-eda’s inspiration. in Japan and his films have been increasingly welcomed at major film festivals. In 2018, his latest Kore-eda has also been linked to directors from film Shoplifters won the Palme d’Or, the top prize at Taiwan such as Hou Hsiao-hsien, Edward Yang and, Cannes Film Festival. Like some of his earlier films, it more controversially, Tsai Ming-liang. These directors opened at No 1 at the Japanese box office in June are part of the ‘Taiwanese New Cinema’ which first 2018 and made around $38 million worldwide. appeared in the 1980s, making a link between the 1950s Japanese masters and Kore-eda. Taiwanese Originally a documentarist working in television, Kore- film has maintained some links to Japanese film eda moved into fiction features with Maborosi in 1995 culture, even though the Japanese colonial and has since made a further 12 cinema features as occupation of Formosa/Taiwan ended in 1945. We’ll director and often writer and film editor as well. He look at a short extract from Hou Hsiao-hsien’s Café has also produced films. Although he has made forays Lumière (2003). Kore-eda has also cited Ken Loach as into several different genres, Kore-eda’s films often an influence. -
The Anime Galaxy Japanese Animation As New Media
i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia......... -
Brittisk Noir Mörker, Våld Och Sjabbig Glamour
november–januari 1 Stockholm Brittisk noir Mörker, våld och sjabbig glamour November 2019–januari 2020: Trinh T. Minh-ha, Kinuyo Tanaka, Nils Poppe, Alfred Hitchcock, David Cronenberg 2 Innehåll november–januari Inledning ......................................................................................................................................................................................... 3 4 Alfred Hitchcock .................................................................................................................................................................. 4 The Master of Suspense. Trinh T. Minh-ha .................................................................................................................................................................... 6 Etnografisk film, essäer och lekfull fiktion. David Cronenberg ............................................................................................................................................................ 8 Body horror och ”tankeväckande skräp”. Kinuyo Tanaka ................................................................................................................................................................... 11 Berömd japansk skådespelare och regipionjär. 6 Walter Hill ................................................................................................................................................................................. 14 Kultförklarade filmer om sammanbitna män. Ermanno Olmi ................................................................................................................................................................... -
Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki
AN ABSTRACT OF THE THESIS OF Karissa Sabine for the degree of Master of Arts in Women, Gender, and Sexuality Studies presented on June 8, 2017. Title: Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki. Abstract approved: ______________________________________________________ Bradley Boovy Despite the now common usage of the term “girl”, there has been little call for pause and deeper analysis into what we actually mean when we use this term. In particular, animated film provides a wide scope of media texts that claim to focus on girlhood; but how do we in fact know girlhood? How is girlhood constructed? With these questions in mind, I use feminist textual analysis to examine three films— Nausicaä of the Valley of the Wind (1984), Kiki’s Delivery Service (1989), and Princess Mononoke (1997)—by acclaimed Japanese animator Hayao Miyazaki in which girl characters and girlhood play prominently into the film's construction as a whole. In particular, I examine how Miyazaki constructs girlhood through his storylines and characters and how these characters (i.e. girls) are then positioned in relation to three specific aspects of their representation: their use of clothing, their relationships to other characters, and their freedom of movement relative to other characters. In doing so, I deconstruct more traditionally held notions of girlhood in which girls are seen as dependent and lacking autonomy. Through Miyazaki’s work, I instead offer up a counternarrative of girlhood in which the very category of gender, and indeed “girls”, are destabilized. In doing so, I hope to provide a wider breadth of individuals the chance to see themselves represented in animated film in both significant and meaningful ways. -
Marco Balzarotti
MARCO BALZAROTTI (Curriculum Professionale liberamente fornito dall'utente a Voci.FM) link originale (thanks to): http://www.antoniogenna.net/doppiaggio/voci/vocimbal.htm Alcuni attori e personaggi doppiati: FILM CINEMA Spencer Garrett in "Il nome del mio assassino" (Ag. Phil Lazarus), "Il cammino per Santiago" (Phil) Viggo Mortensen in "American Yakuza" (Nick Davis / David Brandt) Michael Wisdom in "Masked and Anonymous" (Lucius) John Hawkes in "La banda del porno - Dilettanti allo sbaraglio!" (Moe) Jake Busey in "The Hitcher II - Ti stavo aspettando" (Jim) Vinnie Jones in "Brivido biondo" (Lou Harris) Larry McHale in "Joaquin Phoenix - Io sono qui!" (Larry McHale) Paul Sadot in "Dead Man's Shoes - Cinque giorni di vendetta" (Tuff) Jerome Ehlers in "Presa mortale" (Van Buren) John Surman in "I'll Sleep When I'm Dead" (Anatomopatologo) Anthony Andrews in "Attacco nel deserto" (Magg. Meinertzhagen) William Bumiller in "OP Center" (Lou Bender) Miles O'Keefe in "Liberty & Bash" (Liberty) Colin Stinton in "The Commander" (Ambasc. George Norland) Norm McDonald in "Screwed" Jeroen Krabbé in "The Punisher - Il Vendicatore" (1989) (Gianni Franco, ridopp. TV) Malcolm Scott in "Air Bud vince ancora" (Gordon) Robert Lee Oliver in "Oh, mio Dio! Mia madre è cannibale" (Jeffrey Nathan) John Corbett in "Prancer - Una renna per amico" (Tom Sullivan) Paul Schrier in "Power Rangers: Il film" e "Turbo - A Power Rangers Movie" (Bulk) Samuel Le Bihan in "Frontiers - Ai confini dell'inferno" (Goetz) Stefan Jürgens in "Porky college 2 - Sempre più duro!" (Padre di Ryan) Tokuma Nishioka in "Godzilla contro King Ghidora" (Prof. Takehito Fujio) Kunihiko Mitamura in "Godzilla contro Biollante" (Kazuhito Kirishima) Choi Won-seok in "La leggenda del lago maledetto" (Maestro Myo-hyeon) Eugene Nomura in "Gengis Khan - Il grande conquistatore" (Borchu) FILM D'ANIMAZIONE (CINEMA E HOME-VIDEO) . -
And Factory / 7035
and factory / 7035 COVERAGE INITIATED ON: 2019.04.12 LAST UPDATE: 2019.08.07 Shared Research Inc. has produced this report by request from the company discussed in the report. The aim is to provide an “owner’s manual” to investors. We at Shared Research Inc. make every effort to provide an accurate, objective, and neutral analysis. In order to highlight any biases, we clearly attribute our data and findings. We will always present opinions from company management as such. Our views are ours where stated. We do not try to convince or influence, only inform. We appreciate your suggestions and feedback. Write to us at [email protected] or find us on Bloomberg. Research Coverage Report by Shared Research Inc. and factory/7035 RCoverage LAST UPDATE: 2019.08.07 Research Coverage Report by Shared Research Inc. | https://sharedresearch.jp INDEX How to read a Shared Research report: This report begins with the trends and outlook section, which discusses the company’s most recent earnings. First-time readers should start at the business section later in the report. Executive summary ----------------------------------------------------------------------------------------------------------------------------------- 3 Key financial data ------------------------------------------------------------------------------------------------------------------------------------- 5 Recent updates ---------------------------------------------------------------------------------------------------------------------------------------- 7 Highlights ------------------------------------------------------------------------------------------------------------------------------------------------------------ -
East-West Film Journal, Volume 3, No. 2
EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9). -
Spirited Away Study Guide
Spirited Away Directed by Hayao Miyazki This study guide suggests cross-curricular activities based on the film Spirited Away by Hanoko Miyazaki. The activities seek to complement and extend the enjoyment of watching the film, while at the same time meeting some of the requirements of the National Curriculum and Scottish Guidelines. The subject area the study guide covers includes Art and Design, Music, English, Citizenship, People in Society, Geography and People and Places. The table below specifies the areas of the curriculum that the activities cover National Curriculum Scottish Guidelines Subject Level Subject Level Animation Art +Design KS2 2 C Art + Investigating Visually and 3 A+B Design Reading 5 A-D Using Media – Level B-E Communicating Level A Evaluating/Appreciating Level D Sound Music KS2 3 A Music Investigating: exploring 4A-D sound Level A-C Evaluating/Appreciating Level A,C,D Setting & English KS2 Reading English Reading Characters 2 A-D Awareness of genre 4 C-I Level B-D Knowledge about language level C-D Setting & Citizenship KS2 1 A-C People People & Needs in Characters 4 A+B In Society Society Level A Japan Geography KS2 2 E-F People & Human Environment 3 A-G Places Level A-B 5 A-B Human Physical 7 C Interaction Level A-D Synopsis When we first meet ten year-old Chihiro she is unhappy about moving to a new town with her parents and leaving her old life behind. She is moody, whiney and miserable. On the way to their new house, the family get lost and find themselves in a deserted amusement park, which is actually a mythical world. -
Pirates, Justice and Global Order in the Anime 'One Piece '
PIRATES, JUSTICE AND GLOBAL ORDER IN THE ANIME ‘ONE PIECE ‘ "Remove justice, and what are kingdoms but gangs of criminals on a large scale? (St. Augustine City of God, Book 4, Ch. 4). DRAFT, work in progress…do not quote without permission I. INTRODUCTION The manga/anime (Japanese cartoon) titled ONE PIECE telling the story of the pirate Monkey D. Luffy and his crew is one of the most successful Japanese cultural products of all time. The first volume of One Piece was published in 1997 and it has been published weekly ever since. It has sold over 430.000.000 million copies worldwide (70.000.000 outside Japan) and it has set already years ago the world record for "The most copies published for the same comic book series, by a single author."1 Although One Piece is the most successful Japanese manga series there are many others -like Dragon Ball or Full Metal Alchemist 2 - with fans around the World, making Japanese manga not only a successful export product, but many believe also a source of Japanese soft power (Bouissou 2006). This in the case of One Piece is especially true for East Asia, with many young readers in the region being inspired by the manga to turn their interest towards Japan (Hirai et al. 2014). Although such products of popular culture are produced mainly for entertainment purposes, we should not dismiss the reflections they make about the social and the political world, as it is recognized that they do not only depict, but also construct identities, shape security narratives and form our world, explaining why scholars increasingly turned their attention to their study (Weldes and Rowley 2015). -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
One Piece” Livestream Watch Party on December 5
TOEI ANIMATION LAUNCHES VIRTUAL EVENT SERIES FOR FANS IN THE U.S. & CANADA WITH “ONE PIECE” LIVESTREAM WATCH PARTY ON DECEMBER 5 Special Guests Colleen Clinkenbeard and Michael McFarland to Join Fans for Two-Episode Screening, Discussion and Giveaways to Celebrate Digital Release of “One Piece” Season 11, Voyage 1 in English Dub LOS ANGELES – November 19, 2020. Anime’s favorite pirates will set sail on a new voyage with the upcoming digital release of new English dub episodes and fans will get a chance to mark the occasion courtesy of Toei Animation in collaboration from Funimation. To celebrate the December 1 digital release of “One Piece” Season 11, Voyage 1 (Eps. 629-641 of the “Dressrosa” Arc) on Microsoft and Sony PlayStation Network, Toei Animation will host a special two-hour “One Piece” livestream watch party for U.S. and Canadian fans. The “One Piece” watch party, which will take place on Saturday, December 5, kicks-off Toei Animation’s new virtual event series for fans. The two-hour event starts at 5:00 pm Pacific / 8:00 pm Eastern and will be simulcast on the Toei Animation and Funimation YouTube channels. The watch party will be hosted by Justin Rojas (HomeCon / Envy Gaming) and Josellie Rios (One Piece at a Time Podcast) who will provide an introduction as well as lead the discussions with special guests Colleen Clinkenbeard (English voice of “Luffy”) and Michael McFarland (ADR director and English voice of “Buggy the Clown”). Fans will get to enjoy two full episodes, Ep. 634 – “A Pirate Noble! Cavendish!” and Ep.