{PDF} Anime: a History Ebook Free Download

Total Page:16

File Type:pdf, Size:1020Kb

{PDF} Anime: a History Ebook Free Download ANIME: A HISTORY PDF, EPUB, EBOOK Jonathan Clements | 256 pages | 12 Dec 2013 | British Film Institute | 9781844573905 | English | London, United Kingdom Top Anime Series Of All Time - IMDb To see what your friends thought of this book, please sign up. To ask other readers questions about Anime , please sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Anime: A History. Jan 22, S. Published on behalf the BFI, this is a proper referenced and well researched book on the history of the animation industry and the technologies in use in Japan during the last years. The focus of the book is in collating the information from Japanese sources, and unlike other anime books that I have read, concentrates on facts, disputes things that appear to be sophistry or 'nescience' and is generally a genuine attempt at research and history rather than media rehash, so massive plus from m Published on behalf the BFI, this is a proper referenced and well researched book on the history of the animation industry and the technologies in use in Japan during the last years. The focus of the book is in collating the information from Japanese sources, and unlike other anime books that I have read, concentrates on facts, disputes things that appear to be sophistry or 'nescience' and is generally a genuine attempt at research and history rather than media rehash, so massive plus from me on that point. That said, it is a fairly dry text, and Clements, extensively quotes others through memoirs nd biographies but steers away from drawing conclusions himself - It feels a bit like a PhD dissertation rather than a history book at times. The titles discussed are there to illustrate the changing industry and technologies, and rarely about the actual material itself although it would be hard not to combine the two during the propaganda phase during WWII - many of the clips and indeed some of the complete features are on YouTube, so I have found it quite instructive to briefly put the book down at times and go and actually watch the content - highly recommended in fact as it gives meat to the bones of the narrative. I haven't included all discussed features here too many! Katsudo Shashin - though Katsudo's recollection of how and when it was made may not line up with reality! Watching it, it is possible to see both sides, like one of those optical illusions that could be a young or old woman's face. The Japanese are tenacious and overcome adversity through hard work and perseverance - the flip side is that they achieve this by compelling the Chinese to do as they are told, if not through persuasion then through trickery and violence. I would say tends towards not being positive about the Japanese and it is a testament to how the Japanese believed they were in the right that they could not see the view from this end. A pro Japanese military film, though was not finished until the war was practically lost. Obviously life is much better now Japanese are here - the locals work hard to provide the food and laundry services for the occupiers while the Japanese spend their time lazing around and polishing their machine guns. Finally the Japanese ship out in their aeroplanes - you can see in the faces of the occupied how much they will miss them Of course, without any losses at all, the Japanese rout the evil westerners I believe English in this case - you can tell they are evil - very shifty and have big noses. And thus the film ends. Hakujaden Panda and the magic serpent. Made when Japanese animators thought they had to compete with Disney, and after all the militaristic jingoism had dies down. It is a beautiful romance between a boy and a white serpent who transforms herself into a woman for her love. Interestingly, because animators believed they need to internationalise the film, it was made with the Chinese market and Hong Kong in particular in mind - such that all the names in the film are Chinese, not Japanese - but they all speak Japanese certainly in the version I watched. Lip sync was not high on the agenda at the time! Interestingly if you compare to Princess Iron Fan you can see why the Japanese would find the story in Iron Fan to show them in a positive light! This is possibly also the first 'anime retread' where the same story is used for a different version for the same thing - something that seems to happen a lot these days :. PS the 80s version of Monkey was the best bay far Horus: Prince of the Sun a. The Little Norse prince Another saccharin flavoured story of good versus evil. This is the first of the films that I can honestly say felt like what I understand to be 'anime' rather that animation. Maybe because it isn't rotoscoped? A more modernist take on animation and with vivid colour this was in effect a 'test reel' for the newly formed Mushi productions. Astroboy bought to together a broad selection of cost-cutting practices and selling practices which ultimately were unsustainable, but did enable to 'anime' as we know it today to emerge. In particular I noted the 'cutesy' appearance of the titular character for example. The series was sold to the Americans, and managed this because it was not identifiably Japanese when overlaid with an American sound track - a fact that the American sellers did not hide, but didn't advertise either. Panda go Panda. There were two episode of this made, which were jammed together to make one 'feature length' presentation - this is how it is sold on DVD. The Transformational style of magical girls coming in after the mecha revolution - which of course existed to sell merchandise. It is not very well made, but has a charm of its own. Daicon IV was also awesome due to the use of digital effects - showing the industry that the consumers are capable of keeping up with them! Wicked City This is the 'adult themed' example in the book. From the visuals you get the impressing it might be kind of Sin City, but turns out to be a bit more visceral and a lot more nudey. To be fair, most 'straight to video' type live action films in the 80s were doing the same thing Lifeforce anyone? And actually I quite enjoyed it. Royal Space Force Wings of Honneamise This was when it was thought home video was the new tulip - cost a lot of money to make and was made by the graduated Daicon crew and backers were just throwing money at it. Unsurprisingly it did not do as well as expected - though didn't do too badly. The film itself is about a crazy bunch of people who decide to be 'the first into space' - initially all but the chief really think it is all a bit of a dodge, lying around and generally training for something that will never happen. Then, unexpectedly, the hero of the story decides to volunteer to be the first astronaut, and things start to get serious. It is quite a nice story, but long, and there is not much 'action'. The legend of o-ren ishii. I remember this short as part of the first volume of Kill Bill - actually the best sequence in the film I thought. Very nicely done, apparently digital, and was pleased to learn, actually Japanese made. Remember seeing this film when it came out - actually much better than 'Final Fantasy' which had been the big news a few years before. This one had a really good story as well as the whole '3D animated' thing going on. The digital boom has exploded the quantity and production quality, and its history as explored in this book has resulted in its distinctive style. A really informative book on the subject made more enjoyable by the ability in the digital age to watch, easily and conveniently the content being discussed. A must read for anime scholars. Particularly useful for its excellent information on anime industry happenings in the ss period, very little of which is available in English. Sep 04, SSShafiq marked it as to- read Shelves: history. August So I decided to finally take the plunge and get this from the library. I was interested in reading a historical take on Japanese animation and this one promised to be an overview More academic than I expected, but still a nice read about the history of anime, with many references and information that an anime fan will appreciate. This book was written based on the intent to deeply inform, not entertain. Although some of the knowledge contained within this book is very interesting, progression is slow and much of the book sparked no interest within me. A majority of anime are based off of manga and video games. After shows or movies, there is sometimes a game produced as well. There is also OVA that are part of the show like extra clips. Manga is an extension of Japanese style art comic books and graphic novels, aimed for different ages with different genres. There are different ways to read these books. Watching Anime comes along with making cool new friends who many can talk to about the different shows and how they relate to it. This community of active anime watchers have a term called a weeaboo, which means someone who watches a lot of anime and reads a bunch of manga.
Recommended publications
  • Reallusion Premieres Iclone 1.52 - New Technology for Independent Machinima
    For Immediate Release Reallusion Premieres iClone 1.52 - New Technology for Independent Machinima New York City - November 1st, 2006 – Reallusion, official Academy of Machinima Arts and Sciences’ Machinima Festival partner hits the red carpet with the iClone powered Best Visual Design nominee, “Reich and Roll”, an iClone film festival feature created by Scintilla Films, Italy. iClone™ is the 3D real-time filmmaking engine featuring complete tools for character animation, scene building, and movie directing. Leap from brainstorm to screen with advanced animation and visual effects for 3D characters, animated short-films, Machinima, or simulated training. The technology of storytelling evolves with iClone. Real-time visual effects, character interaction, and cameras all animate in with vivid quality providing storytellers instant visualization into their world. Stefano Di Carli, Director of ‘Reich and Roll’ says, “Each day I find new tricks in iClone. It's really an incredible new way of filmmaking. So Reallusion is not just hypin' a product. What you promise on the site is true. You can do movies!” Machinima is a rising genre in independent filmmaking providing storytellers with technology to bring their films to screen excluding high production costs or additional studio staff. iClone launches independent filmmakers and studios alike into a production power pack of animation tools designed to simplify character creation, facial animation, and scene production for 3D films. “iClone Independent filmmakers can commercially produce Machinima guaranteeing that the movies you make are the movies you own and may distribute or sell,” said John Martin II, Director of Product Marketing of Reallusion. “iClone’s freedom for filmmakers who desire to own and market their films supports the new real-time independent filmmaking spirit and the rise of directors who seek new technologies for the future of film.” iClone Studio 1.52 sets the stage delivering accessible directing tools to develop and debut films with speed.
    [Show full text]
  • Facial Animation: Overview and Some Recent Papers
    Facial animation: overview and some recent papers Benjamin Schroeder January 25, 2008 Outline Iʼll start with an overview of facial animation and its history; along the way Iʼll discuss some common approaches. After that Iʼll talk about some notable recent papers and finally offer a few thoughts about the future. 1 Defining the problem 2 Historical highlights 3 Some recent papers 4 Thoughts on the future Defining the problem Weʼll take facial animation to be the process of turning a characterʼs speech and emotional state into facial poses and motion. (This might extend to motion of the whole head.) Included here is the problem of modeling the form and articulation of an expressive head. There are some related topics that we wonʼt consider today. Autonomous characters require behavioral models to determine what they might feel or say. Hand and body gestures are often used alongside facial animation. Faithful animation of hair and rendering of skin can greatly enhance the animation of a face. Defining the problem This is a tightly defined problem, but solving it is difficult. We are intimately aware of how human faces should look, and sensitive to subtleties in the form and motion. Lip and mouth shapes donʼt correspond to individual sounds, but are context-dependent. These are further affected by the emotions of the speaker and by the language being spoken. Many different parts of the face and head work together to convey meaning. Facial anatomy is both structurally and physically complex: there are many layers of different kinds of material (skin, fat, muscle, bones). Defining the problem Here are some sub-questions to consider.
    [Show full text]
  • First Words: the Birth of Sound Cinema
    First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints.
    [Show full text]
  • Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation
    ACM SIGGRAPH 97 Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation ABSTRACT Video Rewrite automatically pieces together from old footage a new video that shows an actor mouthing a new utterance. The Video Rewrite uses existing footage to create automatically new results are similar to labor-intensive special effects in Forest video of a person mouthing words that she did not speak in the Gump. These effects are successful because they start from actual original footage. This technique is useful in movie dubbing, for film footage and modify it to match the new speech. Modifying example, where the movie sequence can be modified to sync the and reassembling such footage in a smart way and synchronizing it actors’ lip motions to the new soundtrack. to the new sound track leads to final footage of realistic quality. Video Rewrite automatically labels the phonemes in the train- Video Rewrite uses a similar approach but does not require labor- ing data and in the new audio track. Video Rewrite reorders the intensive interaction. mouth images in the training footage to match the phoneme Our approach allows Video Rewrite to learn from example sequence of the new audio track. When particular phonemes are footage how a person’s face changes during speech. We learn what unavailable in the training footage, Video Rewrite selects the clos- a person’s mouth looks like from a video of that person speaking est approximations. The resulting sequence of mouth images is normally. We capture the dynamics and idiosyncrasies of her artic- stitched into the background footage.
    [Show full text]
  • FILM-GOING in the SILENT ERA Elizabeth Ezra in The
    THE CINEMISING PROCESS: FILM-GOING IN THE SILENT ERA Elizabeth Ezra In the Surrealist text Nadja, published in 1928, André Breton reminisces about going to the cinema in the days ‘when, with Jacques Vaché we would settle down to dinner in the orchestra of [the cinema in] the former Théâtre des Folies- Dramatiques, opening cans, slicing bread, uncorking bottles, and talking in ordinary tones, as if around a table, to the great amazement of the spectators, who dared not say a word’ (Breton 1960 [1928]: 37). When Breton recalled these youthful antics, which had probably taken place in the late teens or early twenties, he characterized them as ‘a question of going beyond the bounds of what is “allowed,” which, in the cinema as nowhere else, prepared me to invite in the “forbidden” (Breton 1951; original emphasis). Breton’s remarks beg the following questions. How did such behaviour in a cinema come to be considered transgressive? How did the structures emerge that made it a transgressive act to speak or eat a meal in the cinema, to reject, in other words, the narrative absorption that had become a standard feature of the filmgoing experience? The conventions that gave meaning to such forms of transgression emerged over the course of the silent era in what may be called, to adapt Norbert Elias’s term, ‘the cinemizing process’ (1994). The earliest historians of cinema already relied heavily on a rhetoric of lost innocence (witness the multiple accounts of the first cinema-goers cowering under their seats in front of the Lumière brothers’ film of a train pulling into a station); the cinemizing process thus presupposes a ‘golden age’ of naive, uninitiated spectatorship followed by 2 an evolution of audiences into worldy-wise creatures of habit.
    [Show full text]
  • Popular Song Recordings and the Disembodied Voice
    Lipsynching: Popular Song Recordings and the Disembodied Voice Merrie Snell Doctor of Philosophy School of Arts and Cultures April 2015 Abstract This thesis is an exploration and problematization of the practice of lipsynching to pre- recorded song in both professional and vernacular contexts, covering over a century of diverse artistic practices from early sound cinema through to the current popularity of vernacular internet lipsynching videos. This thesis examines the different ways in which the practice provides a locus for discussion about musical authenticity, challenging as well as re-confirming attitudes towards how technologically-mediated audio-visual practices represent musical performance as authentic or otherwise. It also investigates the phenomenon in relation to the changes in our relationship to musical performance as a result of the ubiquity of recorded music in our social and private environments, and the uses to which we put music in our everyday lives. This involves examining the meanings that emerge when a singing voice is set free from the necessity of inhabiting an originating body, and the ways in which under certain conditions, as consumers of recorded song, we draw on our own embodiment to imagine “the disembodied”. The main goal of the thesis is to show, through the study of lipsynching, an understanding of how we listen to, respond to, and use recorded music, not only as a commodity to be consumed but as a culturally-sophisticated and complex means of identification, a site of projection, introjection, and habitation,
    [Show full text]
  • Research on Animation Lip Synchronization Technology
    Received June 30, 2013; Accepted September 15, 2013 Research on Animation Lip synchronization technology A study on application and development of domestic animation Lip synchronization Cho, Jungsung Chung Kang College of Cultural Industries [email protected] . Abstract Recently, linguistic communication and learning effect and even delivery of knowledge information and mutual communion was capacitated with English lip sync automation device and voice recognition technology based real time animation character in areas like movie, game, broadcasting, AR with application of animation lip sync. It connotes the possibility of these characters` lip sync using characteristic of animation to efficiently enhance the qualitative level of work in domestic animation creation`s linguistic expression with progress and application of automation technology. In a word, a study on development and practical use of Korean lip sync technique is needed to be made actively in industrial, technical progress of domestic animation. However, it is hard to find a research on commercialization method of Korean lip sync automation technique and excellent performance or example that these techniques were applied in domestic animation up to now. The reason that development using Korean lip sync technique on domestic animation passed unobserved could be found in problem of sociocultural awareness, production environment and functional value feature. First, in Korea, animation is recognized as subordinate part of movie genre, and sociocultural stereotype that persisted with dictionary definition and feature that unreal and non-objective illusion image with playful exaggeration and symbol that brings optical illusion through apparition of movement is also a problem. Second, labor-intensive method that mobilized many labor was used in production of traditional 2D animation, and since the production was done by specific worker with long acumen and experience, thus it requires long period of production and big consumption expense.
    [Show full text]
  • Haruhi in Usa: a Case Study of a Japanese Anime in the United States
    HARUHI IN USA: A CASE STUDY OF A JAPANESE ANIME IN THE UNITED STATES A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Ryotaro Mihara August 2009 © 2009 Ryotaro Mihara ALL RIGHTS RESERVED ABSTRACT Although it has been more than a decade since Japanese anime became a popular topic of conversation when discussing Japan, both within the United States and in other countries as well, few studies have empirically investigated how, and by whom, anime has been treated and consumed outside of Japan. This research thus tries to provide one possible answer to the following set of questions: What is the empirical transnationality of anime? How and by whom is anime made transnational? How is anime transnationally localized/consumed? In order to answer the questions, I investigated the trans-pacific licensing, localizing, and consuming process of the anime The Melancholy of Haruhi Suzumiya (Haruhi) from Japan to the United States by conducting fieldwork in the United States’ agencies which localized Haruhi as well as U.S. anime and Haruhi fans. The central focus of this research is the ethnography of agencies surrounding Haruhi in the United States and Japan. I assume that these agencies form a community with a distinctive culture and principles of behaviors and practices in the handling of the Haruhi anime texts. The research findings to the above questions could be briefly summarized as follows. The worldview, characters, and settings of Haruhi (i.e. a fictious world of Haruhi which is embodied and described through its anime episodes and other related products) “reduces” and “diffuses” as it is transferred on the official business track from the producers in Japan to the localizers in the United States (i.e.
    [Show full text]
  • Generated Machine-Cinema to Cultural Values
    Cultural Value Machinima: an investigation into the contribution of participatory user- generated machine-cinema to cultural values Dr Tracy Harwood, Senior Research Fellow Mr Michael Uwins, Research Assistant Institute of Creative Technologies, De Montfort University 1 MACHINIMA: INVESTIGATING THE CULTURAL VALUES Machinima: an investigation into the contribution of participatory user-generated machine-cinema to cultural values Dr Tracy Harwood, Senior Research Fellow Mr Michael Uwins, Research Assistant Institute of Creative Technologies De Montfort University Executive Summary Machinima is the making of original films using content derived from 3D video games and virtual environments. The first recognised machinima was created in 1996. Since then, it has achieved an impressive growth record albeit a medium in transition. It is embedded in social media networking platforms – during this project the former community website, Machinima.com (now MachinimaTM) recorded its 5 billionth hit – only the second website to do so in the history of the internet. This report focuses on research findings from a primary investigation into the perspectives of the key stakeholders associated with the medium: machinima creators (machinimators), games developers and digital arts curators. The research has used a predominantly qualitative methodology, including netnography and interviews. Netnographic findings highlight four main channels of distribution for machinima: games channels, social networks, virtual learning channels and walled channels, emphasising
    [Show full text]
  • Real-Time Lip Sync for Live 2D Animation Deepali Aneja Wilmot Li University of Washington Adobe Research [email protected] [email protected]
    Real-Time Lip Sync for Live 2D Animation Deepali Aneja Wilmot Li University of Washington Adobe Research [email protected] [email protected] Figure 1. Real-Time Lip Sync. Our deep learning approach uses an LSTM to convert live streaming audio to discrete visemes for 2D characters. ABSTRACT characters and objects move. However, live 2D animation The emergence of commercial tools for real-time performance- has recently emerged as a powerful new way to communicate based 2D animation has enabled 2D characters to appear on and convey ideas with animated characters. In live anima- live broadcasts and streaming platforms. A key requirement tion, human performers control cartoon characters in real-time, for live animation is fast and accurate lip sync that allows allowing them to interact and improvise directly with other characters to respond naturally to other actors or the audience actors and the audience. Recent examples from major stu- through the voice of a human performer. In this work, we dios include Stephen Colbert interviewing cartoon guests on present a deep learning based interactive system that auto- The Late Show [6], Homer answering phone-in questions matically generates live lip sync for layered 2D characters from viewers during a segment of The Simpsons [15], Archer using a Long Short Term Memory (LSTM) model. Our sys- talking to a live audience at ComicCon [1], and the stars of an- tem takes streaming audio as input and produces viseme se- imated shows (e.g., Disney’s Star vs. The Forces of Evil, My quences with less than 200ms of latency (including processing Little Pony, cartoon Mr.
    [Show full text]
  • Lip Sync Battle
    LIP SYNC BATTLE A SOCIAL LIFE NIGHT LIP SYNC BATTLE SOCIAL LIFE NIGHT 2 LIFE NIGHT OVERVIEW TWITTER Bring you’re “A” game to the Life Teen Lip Sync Battle! LIP SYNC BATTLE #LTGameOn A SOCIAL LIFE NIGHT Watch your youth minister & Core Team at the Lip Sync Battle #LikeABoss GOAL “Have the courage to be truly happy.” –Pope Francis The goal of this Social Life Night is for teens to have fun and #LTLipSyncBattle grow in community. “Cheerfulness strengthens the heart and makes us preserve in ABOUT THIS LIFE NIGHT a good life.” –St. Philip Neri #LTLipSyncBattle This Life Night is a lip sync competition. It’s also a great TO PREPARE mixer and perfect opportunity for the Core Team to practice relational ministry. The Life Night begins with a At a prior Life Night, tell the teens a Lip Sync Battle is in Gather meal or snack and then dives into the Lip Sync their near future and give them ten to fifteen minutes to Battle. It ends with an awards ceremony and prayer. brainstorm and practice a lip sync song with a small group or on their own. At this same Life Night, have the teens ENVIRONMENT sign-up with their group and song. Consider having this sign-up online as well, so teens can continue to sign-up as Make your main meeting space look like a theatre or stage. the event gets closer. Use platforms, lights, microphone stands, microphones, and speakers. Get creative and make “curtains” out of As teens sign-up, make sure the songs they are planning butcher paper.
    [Show full text]
  • Facial Capture Lip-Sync
    Rochester Institute of Technology RIT Scholar Works Theses 5-30-2017 Facial Capture Lip-Sync Victoria McGowen [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation McGowen, Victoria, "Facial Capture Lip-Sync" (2017). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Facial Capture Lip-Sync by Victoria McGowen A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Computer Science Supervised by Joe Geigel Department of Computer Science B. Thomas Golisano College of Computing and Information Sciences Rochester Institute of Technology Rochester, New York May 30 2017 ii The thesis “Facial Capture Lip Sync” by Victoria McGowen has been examined and approved by the following Examination Committee: Joe Geigel Associate Professor Thesis Committee Chair Alejandro Perez Sanchez Assistant Professor Thesis Committee Reader Reynold Bailey Associate Professor Thesis Committee Observer iii Acknowledgments I would like to thank my committee and my advisor Joe Geigel. Thank you for taking a chance on me freshman year and approving me for my first CG class. Working together on Farewell to Dawn has been a joy and I will miss it. You also still owe me tatter tots. I would like to thank Alejandro Perez Sanchez for meeting with me every Wednesday even before this thesis was proposed and creating the 3D assets used.
    [Show full text]