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(Revised0507)JAPAN BOOTH 2013 Cannes FIX
CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships. -
Ray X X-Rayer #131 January 30, 2017
Ray X X-Rayer #131 January 30, 2017 [email protected] http://x-rayer.com Ultra Q – Episode 27: The Disappearance of Flight 206 XR #131 Page 1 TAFFy Pull: Nominee John Purcell Draws In the Votes Welcome to SF fan alphabet soup. TAFF. CUFF. DUFF. GUFF. All three organizations raise funds so that science fiction fans can travel to conventions in other parts of the world. Three candidates are vying to win TAFF, Trans-Atlantic Fan Fund.* The TAFF 2017 Ballot explains: "TAFF has regularly brought North American fans to European conventions and European fans to North American conventions. It exists solely through the support of fandom." This year it's North America to Europe. Fanzine editor and 2017 TAFF nominee John Purcell took the time to explain how TAFF works. John is a Minnesotan transplanted to Texas. His day job: instructor at Blinn Community College. Hobbies: Besides SF fandom there's music, playing guitar. He publishes two fanzines with easily confused titles, Askew and Askance. (I know after writing a letter of comment to the wrong zine.) He explained a fan declares the intention to run for TAFF and then needs to line up other fans to nominate that fan. John: "TAFF requires a total of five nominators (two from the destination continent, three from the sending continent) to send in their nominating statements to the current TAFF Administrators." XR #131 Page 2 "Once the requirements are met," he continued, "the administrators then announce that the race is on and open it for any fan to vote until the deadline [this year March 4.]" A TAFF nominee can campaign through fanzines. -
Tokusatsu. I Telefilm Giapponesi Con Effetti Speciali
Tokusatsu. I telefilm giapponesi con effetti speciali. Tokutatsu è il primo saggio in Italia dedicato alla storia dei telefilm giapponesi con effetti speciali. Ve lo ricordate Megaloman? Introduciamo Tokutatsu. Chi è appassionato di manga, anime e film di mostri (i cosiddetti kaijū eiga) ha a disposizione un numero considerevole di pubblicazioni tra cui scegliere. C’è però un altro settore, non ancora adeguatamente considerato e studiato, che ha un’importanza altrettanto fondamentale. Sono i tokusatsu, i telefilm nipponici con effetti speciali di cui qualche esempio è arrivato anche in Italia durante i primi anni Ottanta. Si è trattato però solo della punta dell’iceberg di un fenomeno molto più ricco, articolato e complesso che meritava di essere approfondito. Il termine, che deriva dalla fusione delle parole tokushū (特殊) e satsuei (撮影) ossia “effetti speciali”, viene utilizzato per indicare un genere di serie televisive, spesso di argomento fantascientifico, in cui viene fatto abbondante uso di particolari espedienti cinematografici. Dal kabuki a Ultraman L’origine di queste produzioni risale ai primi esempi del teatro giapponese tradizionale, in particolare al kabuki e al bunraku. Dal primo questi telefilm hanno tratto ispirazione principalmente per le scene d’azione e di combattimento; dal secondo, invece, hanno mutuato tutta una serie di soluzioni tecniche artigianali che poi, ulteriormente sviluppate e raffinate, hanno dato origine a quel particolare mix in cui costumi sgargianti si sposano con esplosioni pirotecniche e modellini in scala di città, navi, aerei e mostri di vario genere. Analizzare la storia di questo tipo di produzioni significa intraprendere un lungo viaggio che inizia negli anni Cinquanta, con i primi supereroi mascherati emuli di Superman e Batman, per poi attraversare gli anni Sessanta, con la consacrazione di Eiji Tsuburaya a cui si deve la creazione di una lunga serie di personaggi che sono entrati nella storia del cinema e della televisione giapponese, Ultraman su tutti. -
Cyclopaedia 18 – Kaiju Overview Articles
Cyclopaedia 18 – Kaiju By T.R. Knight (InnRoads Ministries * Article Series) Overview Who are the biggest of the Kaijū derives from the Japanese for "strange big? beast" but in more common vernacular these are giant monster stories. Giant monsters Some debate which are the greatest of the attacking cities (especially Tokyo), the Kaiju. The top quartet are easy to choose military defending the city, giant monsters (Gamera, Godzilla, King Kong, and Mothra). fighting each other, and secret societies or The most commonly discussed and with the aliens betting involved. These were all most screen time include… trademarks of the kaiju genre. • Destroyah Gojira (translated as Godzilla in the US) • Gamera receives credit for being the first ever kaiju • Godzilla film. Released in 1954, it is considered the • King Ghidorah first kaiju film but it is not the first giant • King Kong monster movie. King Kong and The Beast • MechaGodzilla from 20,000 Fathoms were hits in the US and • Mothra Japan, so Gojira was the Japanese cinematic • Rodan response to those popular films. Tomoyuki Tanaka of Toho Studios combined the Following are sources of information Hollywood giant monster concept with the pertaining to Kaiju to assist prospective growing fear of atomic weapons in Japan. game masters, game designers, writers, and The movie was a huge success in Japan, storytellers in knowing where to start their spawning the kaiju movie genre. The movie research. was so popular in Japan it was brought to the US as Godzilla, King of Monsters. Articles In the US, the Create Double Feature matinee and Mystery Science Theater 3000 developed Godzilla: why the Japanese original is no a massive following for these kaiju movies joke from Japan. -
Ultraman at TYO Create a Powerful Ultramanwith the New Knowledge Tag
4 In the Vanguard of Creativity Ultraman at TYO Create a Powerful Ultramanwith the new knowledge tag TYO Inc. 2-21-7 Kami-Osaki, Shinagawa-ku, Tokyo 141-0021, Japan http://group.tyo.jp/ New Face JASDAQ Stock Code: 4358 ● TSUBURAYA PRODUCTIONS CO., LTD. ● ZEO Corporation In the vanguard of creativity ● Light Work Co., Ltd. ● Great Works AB ● dwarf Inc. ● LUDENS CO., LTD. The world of craftsmanship ● TYO Productions Inc. ©Tsuburaya Productions that brings happiness to creator and viewer alike A Transformed Management Strategy Interview 2008 New Face ● Theoria Communications Inc. TYO Creative Business City ● COM Co., Ltd. ● 1st Avenue Inc. ● Haxen International Inc. Motivating the spirit of ● DOGA KOBO Inc. creativity for the next TYO Management Strategy Interview 2007 ―Interview with new directors― TYO Fifteen talented men that the next generation requires Creative Business City Town Block Planning Management Strategy Interview 2008 Know-how that capitalizes on change and operational capability with originality otivating the spirit of creativity for the next TYO Providing an “environment” where tal- business of rights management. ented creators can work at the highest TYO also is involved in new enterprises, level, TYO continues to produce excep- too, such establishing a game software tional content for every sector of the video sales company and becoming involved business. TYO has now established an with the Tsuburaya Productions. There are overseas presence in China and the West, 43 distinctive companies at present in this so there has been no change in its consis- group, which rang up consolidated sales of tent approach of responding to challenges. 18.9 billion yen in the year ended July 2007 TYO also has reorganized its corporate (a shortened 10-month accounting period). -
The Master of Special Effects – the Legacy of Tsuburaya Eiji ― in Conversation with Ooka Shinichi, President of Tsuburaya Productions
CULTURE The Master of Special Effects – The Legacy of Tsuburaya Eiji ― In conversation with Ooka Shinichi, President of Tsuburaya Productions Explosions crash and bang as Godzilla or another monster destroys the city… Ultraman shoots Spacium Rays to take down another monster… The best thing about watching special effects movies is that they always shock and surprise you. Tsuburaya Eiji was known as the master of special effects, but in what ways is his DNA being kept alive today? We take a look back and share in the recollections of Ooka Shinichi, former cameraman and current President of Tsuburaya Productions. Shiraishi Masahiko, movie researcher, screenwriter and director There is one man in particular who was known as the master of special effects. In 1936, he developed the screen process (rear projection, a system involving positioning a screen behind the actors then projecting scenery onto the screen from behind) for the first time in the movie industry on the set of a German co-production called Atarashiki Tsuchi (The Daughter of the Samurai ). He later recreated the aerial attack on Pearl Harbor on a miniature set for the movie Hawaii Mare Oki Kaisen (The War at Sea from Hawaii to Malaya ) in 1942, before bringing to life a 50-meter tall monster and laying waste to Tokyo in the 1954 movie Godzilla . That man was Shiraishi Masahiko, movie Tsuburaya Eiji. researcher, screenwriter and director After Godzilla , movies on which Tsuburaya handled special effects technology became a gold mine for Toho and ended up supporting the entire company. Although Tsuburaya’s special effects movies covered a wide range of areas, including science fiction, war and fantasy, the genre in which they proved most popular was kaiju (monster) movies. -
4KOM02292.Pdf
BAB IV PENUTUP A. KESIMPULAN 1. Interaksi yang terjadi di dalam Komunitas Tokusatsu Yogyakarta tidak akan dapat berlangsung tanpa melibatkan komponen – komponen komunikasinya, seperti pengirim pesan; konten pesannya; saluran pesan; penerima pesan; umpan balik yang dihasilkan; dan juga bauran pengalaman yang dimiliki oleh para pelaku komunikasinya. 2. Peran yang muncul dalam kelompok untuk membentuk sebuah konsep pengetahuan produk (product knowledge) terjadi di dalam interaksi tatap muka dan melibatkan komponen – komponen komunikasinya secara keseluruhan. Berbagai peran yang muncul untuk membentuk pengetahuan produk tersebut antara lain peran tugas (task roles) dan peran pemeliharaan (maintenance roles). Peran Tugas yang muncul di dalam interaksi tatap muka antar anggota Komunitas Toksusatsu Yogyakarta antara lain : peran Pencarian Informasi (information seeking); pemberian informasi (information giving); pengembangan (elaborating); klarifikasi (clarifying); pemberian pendapat (opinion giving); dan juga evaluasi (evaluating). Sedangkan peran Pemeliharaan yang muncul di dalam interaksi tatap muka antar anggota Komunitas Toksusatsu Yogyakarta antara lain : peran Gatekeeping; dukungan (supporting); pelepas tegangan (tension relieving); dan juga mendramatisir (dramatizing) 220 3. Interaksi yang terjadi di dalam kelompok dapat berupa interaksi secara tatap muka dan juga secara tidak tatap muka. Interaksi tatap muka memiliki kelebihan dalam proses pembentukan pengetahuan produk bagi kelompok, dikarenakan adanya peran kelompok yang dapat dilakukan -
Ultra-G-Fest! Official Program Book
OFFICIAL PROGRAM BOOK SEE: AKIRA TAKARADA LINDA MILLER BIN FURUYA HIROKO SAKURAI HIROSHI SAGAE YOSHIKAZU ISHII SOJIRO UCHINO AUGUST RAGONE CARL CRAIG ROBERT SCOTT FIELD ULTRA-G-FEST! G-FEST XXIII PROGRAM, JULY 15 - 17, 2016 G-FEST XXIII PROGRAM, JULY 15 - 17, 2016 TABLE OF WELCOME! As I complete the assembling of CONTENTS this program booklet, the largest yet in G- FEST history, I am amazed at the depth and variety of all that our annual gathering of Godzilla fans offers. For starters, it seems to Welcome...................................................................3 me that the programming schedule is so packed with interesting sessions that it will be difficult to choose which ones to attend Special guests and presenters.........................4, 5 and which ones to miss. Like the program book, the list of people participating in the convention in an Map of G-FEST rooms..........................................6 “official” capacity is the largest ever. This tells me that more people are seeing G-FEST as not just a place to The Dealer Room...................................................7 have fun and take in what’s on offer, but also to offer something themselves. Becoming a participant in the many activities that take place over the weekend is an excellent way to make the experience Daily schedule of events................................8 - 10 even better and more memorable. And of course, there are many, many things to do. G-FEST is distinguished from most other shows in that, while shopping for Descriptions of informational sessions.......11- 13 collectibles and obtaining autographs are important for many attendees, they are balanced by several other equally strong facets. -
Japanese Animation Guide: the History of Robot Anime by Japan's
Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Addition to the Release of this Report This report on robot anime was prepared based on information available through 2012, and at that time, with the exception of a handful of long-running series (Gundam, Macross, Evangelion, etc.) and some kiddie fare, no original new robot anime shows debuted at all. But as of today that situation has changed, and so I feel the need to add two points to this document. At the start of the anime season in April of 2013, three all-new robot anime series debuted. These were Production I.G.'s “Gargantia on the Verdurous Planet," Sunrise's “Valvrave the Liberator," and Dogakobo and Orange's “Majestic Prince of the Galactic Fleet." Each was broadcast in a late-night timeslot and succeeded in building fanbases. The second new development is the debut of the director Guillermo Del Toro's film “Pacific Rim," which was released in Japan on August 9, 2013. The plot involves humanity using giant robots controlled by human pilots to defend Earth’s cities from gigantic “kaiju.” At the end of the credits, the director dedicates the film to the memory of “monster masters” Ishiro Honda (who oversaw many of the “Godzilla” films) and Ray Harryhausen (who pioneered stop-motion animation techniques.) The film clearly took a great deal of inspiration from Japanese robot anime shows. The separate “Survey and Report on Japanese Tokusatsu,” which was prepared in parallel with this report, explained the deep connection between “monster-versus-hero" (tokusatsu) productions and robot anime shows. -
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Ultraman- Compassion, Family, and Perseverance Represented in A
Ultraman- Compassion, Family, and Perseverance Represented in a Popular Science-Fiction Television Series (1966~2009) by JOE YAMAMOTO A THESIS Presented to the Department of East Asian Languages and Literature in fulfilment of the requirements for Honors Japanese June 2011 Table of Contents Thesis Introduction- Ultraman, A Hero for the Ages....................................................3 What is an Ultraman?...............................................................................................5 Monster/Alien Terminology within Tokusatsu.....................................................10 Chapter One: Compassion in Ultras............................................................................ 12 The Ultras's Compassion Towards Humans...................................................... 12 Symbol of Hope.......................................................................................................14 Sacrifice as a Cost of Compassion...................................................................... 17 Departing Words as Acts of Compassion........................................................... 20 Compassion Towards Kaijû.................................................................................. 23 Kaijû as a Consequence of Suburban Development........................................ 29 Compassion towards "Benevolent Kaijû "...........................................................31 Chaiyo Production's Hypocrisy of the Ultraman Legacy...................................34 CHAPTER TWO: THE THEME OF -
Cross-Influence Between Robot Anime and Tokusatsu in SSSS.Gridman Angela Longo, Yokohama National University, Japan the Asian Co
Cross-influence Between Robot Anime and Tokusatsu in SSSS.Gridman Angela Longo, Yokohama National University, Japan The Asian Conference on Arts & Humanities 2019 Official Conference Proceedings Abstract This article focuses on the cross-influence between the establishment of the Robot Anime genre and the Tokusatsu in order to understand how both genres were fundamental in shaping and changing the way we perceive Japanese media, domestically and across the world. The design of plamodels and robotic mechanisms will be a point of contact for influencing one another, in terms of aesthetics and industry models. From the television broadcasting of friendly robots in the 1960s — to the giant robots of the 1970s and the henshin boom in Tokusatsu — to the explosion of the more realistic robots in the 1980 and the influence of Super Sentai shows — to the increasing mix between robots and humans in the 1990s — the robot imagery brought philosophical questions about the increasing use of technology in daily life and in the technicity of media itself. Particularly we will analyze the case of the anime SSSS.Gridman (2018) adapted from the original Tokusatsu series Denkō Chōjin Gridman (Gridman the Hyper Agent, 1993-1994) created by Tsuburaya Productions. The anime context is a personalized otaku world with the everlasting influence of Tokusatsu and Super Sentai series. In that sense, the aesthetic analysis will be grounded on how different media captures other media, and how that brings an opening for choices with a deliberate difference in the composing of the moving image. Keywords: Anime; Tokusatsu; Robot; SSSS.Gridman; Aesthetics. iafor The International Academic Forum www.iafor.org Introduction Since the globalization boom of Japanese animation on the 90s, we have seen a continuous rise of interest in the aspects of production, distribution and the establishment of an academic research field dedicated to exploring anime and other Japanese media.