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Japanese Cinema at the Digital Turn Laura Lee, Florida State University
1 Between Frames: Japanese Cinema at the Digital Turn Laura Lee, Florida State University Abstract: This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape. The advent of digital media and the perceived danger it has implied for the status of cinema have resulted in an inevitable nostalgia for the unique properties of the latter. In many Japanese films at the digital turn this manifests itself as a staging of the cinematic apparatus, in 1 which cinema is refracted through composite media arrangements. -
Economic Contribution of the Japanese Film and Television Industry
Economic Contribution of the Japanese Film and Television Industry Report October 2015 Mitsubishi Research Institute, Inc. This report has been commissioned by The Motion Picture Association (MPA) in collaboration with Japan and International Motion Picture Copyright Association, Inc. (JIMCA). JIMCA represents the interests in Japan of major motion picture companies and the MPA. Acknowledgements This report required gathering data from number of sources, including publicly available data from domestic industrial organizations. We would like to thank the organizations below for their help in our understanding of the data, as well as their cooperation with our interviews and discussions. Japan Satellite Broadcasting Association (JSBA) Foreign Film Importer - Distributors Association of Japan (FFIDAJ) Motion Picture Producers Associations of Japan, Inc. (MPPAJ) Japan Video Software Association (JVA) Japan Cable and Telecommunication Association (JCTA) The Association of Japanese Animation (AJA) Japan Association of Theatre Owners (JATO) Compact Disc & Video Rental Commerce Trade Association of Japan (CDV-J) (Japanese alphabetical) Contents 1. Executive Summary ................................................................................................................... 1 1.1 FRAMEWORK AND METHODOLOGY .................................................................................................... 1 1.2 RESULTS FOR ECONOMIC CONTRIBUTION AND MARKET OUTLOOK ....................................................... 1 2. Framework -
Humbaba Research Packet.Pdf
HUMBABA Research Packet Compiled by Cassi Schiano and Christine Scarfuto CONTENTS: History of the Epic of Gilgamesh Summary of the Epic (and the Twelve Tablets) Character Info on Gilgamesh, Enkidu, and Humbaba Brief Historical Info: Babylon Ancient Rome The Samurai Colonial England War in Afghanistan 1 History of The Epic of Gilgamesh The Epic of Gilgamesh is epic poetry from Mesopotamia and is among the earliest known works of literature. The story revolves around a relationship between Gilgamesh (probably a real ruler in the late Early Dynastic II period ca. 27th century BC) and his close male companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances. The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst of his quest foreshadow the end result: "The life that you are seeking you will never find. When the gods created man they allotted to him death, but life they retained in their own keeping." Gilgamesh, however, was celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishtim. -
Aniplex Online Fest 2021 Returns This Summer Announcing First Round of Programming Line-Up
To view or embed the Aniplex Online Fest 2021 commercial via YouTube, please visit: https://youtu.be/WIgyVu38ULg FOR IMMEDIATE RELEASE MAY 27, 2021 Aniplex Online Fest 2021 Returns this Summer Announcing First Round of Programming Line-Up Dive into the world of anime as the online event hosted by Aniplex returns! SANTA MONICA, CA (MAY 27, 2021) – Aniplex of America is thrilled to announce the return of Aniplex Online Fest 2021 on Saturday, July 3, 2021 (PDT). After the successful inaugural event in July 2020, which welcomed over 800,000 viewers from all over the world, Aniplex Online Fest is scheduled to feature programming from popular Aniplex shows, performances from the biggest musical acts, and more, streaming worldwide for free this summer. Aniplex Online Fest 2021 is also proud to reveal the main visual illustrated by Saki Takahashi and the first round of the programming line-up, which includes Demon Slayer: Kimetsu no Yaiba, Sword Art Online the Movie -Progressive- Aria of a Starless Night, Fate/Grand Order ANIME PROJECT, and Puella Magi Madoka Magica 10th Anniversary Project x Magia Record: Puella Magi Madoka Magica Side Story. For more information on Aniplex Online Fest 2021, visit: https://aniplex-online-fest.com/en/ ABOUT [ ANIPLEX ONLINE FEST 2021 ] Event Name: Aniplex Online Fest 2021 Date: Saturday July 3, 2021, 6 PM – Midnight (PDT)* Organizer: Aniplex Inc. Co-sponsored by: Sony Music Entertainment (Japan) Inc. Streaming: YouTube Cost: Free Website: https://aniplex-online-fest.com/en/ *Streaming time is subject to change. -
Mesopotamian Culture
MESOPOTAMIAN CULTURE WORK DONE BY MANUEL D. N. 1ºA MESOPOTAMIAN GODS The Sumerians practiced a polytheistic religion , with anthropomorphic monotheistic and some gods representing forces or presences in the world , as he would later Greek civilization. In their beliefs state that the gods originally created humans so that they serve them servants , but when they were released too , because they thought they could become dominated by their large number . Many stories in Sumerian religion appear homologous to stories in other religions of the Middle East. For example , the biblical account of the creation of man , the culture of The Elamites , and the narrative of the flood and Noah's ark closely resembles the Assyrian stories. The Sumerian gods have distinctly similar representations in Akkadian , Canaanite religions and other cultures . Some of the stories and deities have their Greek parallels , such as the descent of Inanna to the underworld ( Irkalla ) resembles the story of Persephone. COSMOGONY Cosmogony Cosmology sumeria. The universe first appeared when Nammu , formless abyss was opened itself and in an act of self- procreation gave birth to An ( Anu ) ( sky god ) and Ki ( goddess of the Earth ), commonly referred to as Ninhursag . Binding of Anu (An) and Ki produced Enlil , Mr. Wind , who eventually became the leader of the gods. Then Enlil was banished from Dilmun (the home of the gods) because of the violation of Ninlil , of which he had a son , Sin ( moon god ) , also known as Nanna . No Ningal and gave birth to Inanna ( goddess of love and war ) and Utu or Shamash ( the sun god ) . -
The Epic of Gilgamesh Tablet V ... They Stood at the Forest's Edge
The Epic of Gilgamesh Tablet V ... They stood at the forest's edge, gazing at the top of the Cedar Tree, gazing at the entrance to the forest. Where Humbaba would walk there was a trail, the roads led straight on, the path was excellent. Then they saw the Cedar Mountain, the Dwelling of the Gods, the throne dais of Imini. Across the face of the mountain the Cedar brought forth luxurious foliage, its shade was good, extremely pleasant. The thornbushes were matted together, the woods(?) were a thicket ... among the Cedars,... the boxwood, the forest was surrounded by a ravine two leagues long, ... and again for two-thirds (of that distance), ...Suddenly the swords..., and after the sheaths ..., the axes were smeared... dagger and sword... alone ... Humbaba spoke to Gilgamesh saying :"He does not come (?) ... ... Enlil.. ." Enkidu spoke to Humbaba, saying: "Humbaba...'One alone.. 'Strangers ... 'A slippery path is not feared by two people who help each other. 'Twice three times... 'A three-ply rope cannot be cut. 'The mighty lion--two cubs can roll him over."' ... Humbaba spoke to Gilgamesh, saying: ..An idiot' and a moron should give advice to each other, but you, Gilgamesh, why have you come to me! Give advice, Enkidu, you 'son of a fish,' who does not even know his own father, to the large and small turtles which do not suck their mother's milk! When you were still young I saw you but did not go over to you; ... you,... in my belly. ...,you have brought Gilgamesh into my presence, ... you stand.., an enemy, a stranger. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod. -
Talking Like a Shōnen Hero: Masculinity in Post-Bubble Era
Talking like a Shōnen Hero: Masculinity in Post-Bubble Era Japan through the Lens of Boku and Ore Hannah E. Dahlberg-Dodd The Ohio State University Abstract Comics (manga) and their animated counterparts (anime) are ubiquitous in Japanese popular culture, but rarely is the language used within them the subject of linguistic inquiry. This study aims to address part of this gap by analyzing nearly 40 years’ worth of shōnen anime, which is targeted predominately at adolescent boys. In the early- and mid-20th century, male protagonists saw a shift in first-person pronoun usage. Pre-war, protagonists used boku, but beginning with the post-war Economic Miracle, shōnen protagonists used ore, a change that reflected a shift in hegemonic masculinity to the salaryman model. This study illustrates that a similar change can be seen in the late-20th century. With the economic downturn, salaryman masculinity began to be questioned, though did not completely lose its hegemonic status. This is reflected in shōnen works as a reintroduction of boku as a first- person pronoun option for protagonists beginning in the late 90s. Key words sociolinguistics, media studies, masculinity, yakuwarigo October 2018 Buckeye East Asian Linguistics © The Author 31 1. Introduction Comics (manga) and their animated counterparts (anime) have had an immense impact on Japanese popular culture. As it appears on television, anime, in addition to frequently airing television shows, can also be utilized to sell anything as mundane as convenient store goods to electronics, and characters rendered in an anime-inspired style have been used to sell school uniforms (Toku 2007:19). -
Aniplex of America Announces Demon Slayer: Kimetsu No Yaiba English Dub Cast
FOR IMMEDIATE RELEASE OCTOBER 9, 2019 Aniplex of America Announces Demon Slayer: Kimetsu no Yaiba English Dub Cast ©Koyoharu Gotoge / SHUEISHA, Aniplex, ufotable Zach Aguilar and Abby Trott lead the cast of the highly anticipated English dub of Demon Slayer: Kimetsu no Yaiba SANTA MONICA, CA (OCTOBER 9, 2019) – Aniplex of America released the English dub trailer of Demon Slayer: Kimetsu no Yaiba revealing five of the English cast members ahead of the show’s premiere on Cartoon Network’s Toonami on October 12th. Zach Aguilar (ALDNOAH.ZERO, Fate/Apocrypha) and Abby Trott (Asterisk War, Neon Genesis Evangelion) lead the cast as the famous siblings, Tanjiro Kamado and Nezuko Kamado, while Aleks Le (Record of Grancrest War) voices the comical Zenitsu Agatsuma and Bryce Papenbrook (Sword Art Online series, Blue Exorcist) as the wild Inosuke Hashibira. Veteran voice actor Johnny Yong Bosch (Bleach, Blue Exorcist, Durarara!!) rounds out the cast voicing Water Hashira and fan favorite character, Giyu Tomioka. The English cast is under the direction of English Voice Director Steve Staley, who is most recently credited for his work on the English voice direction for the hit show The Promised Neverland. “I was ecstatic, to say the least, when I heard I got the role of Tanjiro,” Zach Aguilar shares about finding out he was cast as the main character Tanjiro. “As a fan of the show, I'm extremely honored to be able to be a part of such a fantastic anime. I'm giving this character my all, and I'm looking forward to going through Tanjiro's journey!” “Nezuko as a human is a sweet, caring sister to her many siblings,” Abby Trott describes her character. -
CRR Packet 07.Pdf
Cane Ridge Revival Head-Edited by John Lawrence Co-Edited by Seth Teitler, Matt Menard, Marshall Steinbaum, and Gautam Kandlikar Written by the University of Chicago and Dartmouth March 2014 Packet 7 TOSSUPS 1. The speaker of one poem by this author predicts, “The signs in the street and the signs in the skies / Shall make me a zodiac, guiding and wise” while contemplating a “specious electrical light.” In another poem by this author, the speaker addresses an animal that was mourned “in silence and terror and truth” and entreats, “Sleep on, O brave-hearted, O wise man that kindled the flame.” (*) Directions like “with a great deliberation and ghostliness” punctuate a poem by this author that describes “cake-walk royalty” and “A minstrel river / Where dreams come true” and claims that “Mumbo-Jumbo will hoo-doo you.” Another poem by this discoverer of Langston Hughes describes a “master of us all” who “cannot sleep upon his hillside now” and paces in his “famous high top-hat.” For 10 points, name this author of “The Eagle that is Forgotten,” “The Congo” and “Abraham Lincoln Walks at Midnight.” ANSWER: (Nicholas) Vachel Lindsay 2. Joseph-Marie Vien painted a replacement for this cycle, which features a work in which a bird is clutched by a putto about to stab it. In another work in this series, a woman leans against a column topped with a sculpture of a globe. A tambourine and an open music book sit above and to the left of a man with a red bow in his hair who sketches in the bottom-right corner of one work in this series. -
Zecharia-Sitchin-The-Lost-Book-Of-Enki
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Song of Gilgamesh 480X270
The Song of Gilgamesh A lyrical translation of humankind's oldest known epic Fred Hornaday THE INITIATE While wilderness mischief excites botheration West of the Indus and south of Tbilisi The sun god called Shamash delivers temptation Sumerian time and the living is easy And summons a temple seductress so charming Imagine a Mesopotamian setting That Enkidu finds her enticements disarming The land of the crescent we can’t be forgetting Submitting himself to her holy seduction A king they call Gilgamesh, strong and sagacious For seven plus seven long nights of instruction But also a tyrant with habits audacious And this way he learns to be polished and civil He’s one-third a mortal and two-thirds divinity No longer consorting with beasts and their drivel Destined to wander in heaven’s vicinity WHAT WOULD ENKIDU ? He dominates Uruk, unfair and unkind The ravishing Shamhat adorns him in style With subjects mistreated, abused and maligned And shepherds invite him to stay for a while They plea to the gods for divine intervention Partaking of civilized foods and libation So goddess Aruru provides an invention As Enkidu opens his eyes to creation The primitive Enkidu, hairy and gritty And learns about kingdoms and ways of oppression A rival for Gilgamesh, man of the city How Gilgamesh governs with gross indiscretion He dwells in the woods among uncultured creatures It seems that before a new bride has her groom In want of a way of refining his features The king has the right to intrude in her room THE CALLING Now Enkidu enters the city with reason