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Iacs2017 Conferencebook.Pdf
Contents Welcome Message •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 Conference Program •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7 Conference Venues ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 10 Keynote Speech ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 16 Plenary Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 20 Special Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 34 Parallel Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 40 Travel Information •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 228 List of participants ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 232 Welcome Message Welcome Message Dear IACS 2017 Conference Participants, I’m delighted to welcome you to three exciting days of conferencing in Seoul. The IACS Conference returns to South Korea after successful editions in Surabaya, Singapore, Dhaka, Shanghai, Bangalore, Tokyo and Taipei. The IACS So- ciety, which initiates the conferences, is proud to partner with Sunkonghoe University, which also hosts the IACS Con- sortium of Institutions, to organise “Worlding: Asia after/beyond Globalization”, between July 28 and July 30, 2017. Our colleagues at Sunkunghoe have done a brilliant job of putting this event together, and you’ll see evidence of their painstaking attention to detail in all the arrangements -
Gender and Audience Reception of English-Translated Manga
Girly Girls and Pretty Boys: Gender and Audience Reception of English-translated Manga June M. Madeley University of New Brunswick, Saint John Introduction Manga is the term used to denote Japanese comic books. The art styles and publishing industry are unique enough to warrant keeping this Japanese term for what has become transnational popular culture. This paper represents a preliminary analysis of interview data with manga readers. The focus of the paper is the discussion by participants of their favourite male and female characters as well as some general discussion of their reading practices. Males and females exhibit some reading preferences that are differentiated by gender. There is also evidence of gendered readings of male and female characters in manga. Manga in Japan are published for targeted gender and age groups. The broadest divisions are between manga for girls, shōjo, and manga for boys, shōnen. Unlike Canada and the USA, manga is mainstream reading in Japan; everyone reads manga (Allen and Ingulsrud 266; Grigsby 64; Schodt, Dreamland 21). Manga stories are first serialized in anthology magazines with a specific target audience. Weekly Shōnen Jump is probably the most well known because it serializes the manga titles that have been made into popular anime series on broadcast television in North America (and other transnational markets) such as Naruto and Bleach. Later, successful titles are compiled and reprinted as tankobon (small digest-sized paperback books). The tankobon is the format in which manga are translated into English and distributed by publishers with licensing rights purchased from the Japanese copyright holders. Translated manga are also increasingly available through online scanlations produced by fans who are able to translate Japanese to English. -
When I Open My Eyes, I'm Floating in the Air in an Inky, Black Void. the Air Feels Cold to the Touch, My Body Shivering As I Instinctively Hugged Myself
When I open my eyes, I'm floating in the air in an inky, black void. The air feels cold to the touch, my body shivering as I instinctively hugged myself. My first thought was that this was an awfully vivid nightmare and that someone must have left the AC on overnight. I was more than a little alarmed when I wasn't quite waking up, and that pinching myself had about the same amount of pain as it would if I did it normally. A single star twinkled into existence in the empty void, far and away from reach. Then another. And another. Soon, the emptiness was full of shining stars, and I found myself staring in wonder. I had momentarily forgotten about the biting cold at this breath-taking sight before a wooden door slammed itself into my face, making me fall over and land on a tile ground. I'm pretty sure that wasn't there before. Also, OW. Standing up and not having much better to do, I opened the door. Inside was a room with several televisions stacked on top of each other, with a short figure wrapped in a blanket playing on an old NES while seven different games played out on the screen. They turned around and looked at me, blinking twice with a piece of pocky in their mouth. I stared at her. She stared back at me. Then she picked up a controller laying on the floor and offered it to me. "Want to play?" "So you've been here all alone?" I asked, staring at her in confusion, holding the controller as I sat nearby. -
Rozbor Vizuálního Jazyka Manga V Rámci Jeho Adaptace Do Anime
Masarykova univerzita Filozofická fakulta Ustav hudební vědy Teorie interaktivních medii Kateřina Skácelová Bakalářská diplomová práce Rozbor vizuálního jazyka manga v rámci jeho adaptace do anime Vedoucí práce: Mgr. Marika Kupková Brno 2011 Prohlašuji, ţe jsem bakalářskou diplomovou práci vypracoval samostatně s vyuţitím uvedených pramenů a literatury. V Brně, dne 13.5.2011 ….....….........................................Kateřina Skácelová Mé díky patří Mgr. Marice Kupkové za vedení práce, Borisi Myslivečkovi za podnětné rady, Lucii Sutnarové a Petře Obrovské za poskytnutí svých znalostí a odborné literatury. Kateřina Skácelová Obsah 1. Úvod 5 2. Exkurz do historie japonského komiksu 6 2.1. Vývoj japonského animovaného filmu, se zaměřením na poválečné období 9 2.1.1. Zhodnocení vizuálního vývoje anime 12 2.1.2. Cenzura manga a anime v rámci zahraniční distribuce 13 3. Manga a základní stavební prvky komiksu 16 4. Adaptace manga do animované formy 19 4.1. Teorie adaptace 20 4.2. Vizuální styl manga a anime 22 4.2.1. Adaptace vizuálního stylu na příkladu „Bokusatsu tenchi Dokuro-chan“ 25 4.2.2. „Fenomenologie“ japonské barevnosti 27 5. Formální analýza 30 5.1. Dynamika a iluze pohybu 31 5.2. Filmový střih v manga 34 5.3. „Záběrování“ a filmová řeč v manga 36 5.4. Vzhled a funkce pozadí v manga a anime 38 6. Ţánrová rozmanitost manga a anime a její specifika 39 7. Závěr 41 8. Resumé 42 9. Summary 43 10. Seznam pouţité literatury 44 11. Citovaná manga a anime 46 12. Seznam vyobrazení 47 4 1. Úvod V této bakalářské práci se zaměřujeme na vizuální jazyk japonské komiksové tvorby a jeho následnou adaptaci do formy anime. -
Representation in the Media
19 1 Representation in the Media l"X7h en we walk through a Toys R Us or rh(" children's section at a Walmarr, V V colors clearly and symbolically mark which aisles arc fur boys and girls. TI'Pical signifiers for girls' produCTs arc various shades of pink and purple; a much greater color variny marks the. boys' aisles, although darker earth tones and camouflage prel'ail. These colors, o'"cr time, have become identity signals in our culture, symbols and social constructions marking boundaries and helping shape identity. These boundaries, in parr, constrain what it means to be a boy or a girl in our culture. So why is our culture like this, and what role do media pia), in nurturing these symbols and identity markers? In contemporary sockt)'. we dcri\"(~ our sellse.' of self and place through social interactions, as wdl as our experiences with mass media. Understanding who we arc and how we makc scns.e ofthc world rcquires an cxploration of thc mcdia's creativc influencc, as well as a eritical analysis of how media arc dominated by powerful indus· tries that influencc identity, cxperience, and cvents. The media usc languagc, lisuals, codes, and convcntions to tcll us stories about who we are and how IW are supposed to behavc and not to behave. They providc us with rcpresentations--narr.J.til'cs that rcpresent us as indiliduals, as members ofsocicty, and as global citizcns. Bl"{:ausc our mcdia sptem is a commcrcial system, media also reprcscnt us as con sumcrs \Iith specific demographic profiles. -
Thesis Bachelor’S Degree the World of ‘S’ and the World of ‘L’: Lesbian Influences on Class S Fiction
Thesis Bachelor’s Degree The World of ‘S’ and the World of ‘L’: Lesbian Influences on Class S Fiction Author: Anna Grete Paalberg Supervisor: Herbert Jonsson Examiner: Hiroko Inose Subject/main field of study: Japanese Course code: JP2011 Credits: 15 Date of examination: 2019-03-15 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☑ No ☐ Dalarna University – SE-791 88 Falun – Phone +4623-77 80 00 Paalberg 1 Abstract In this paper, I will analyze the interconnections between Class S and lesbian identity as exemplified by Yoshiya Nobuko’s early writings with the goal of reconciling two schools of thought—that Class S is inherently lesbian fiction, or that it does not depict lesbians at all. To do so, I will be examining “Yellow Rose” through the lens of biographical criticism in order to illuminate the inherent connection between the themes present in Yoshiya Nobuko’s writings and her lived experience as a same-sex attracted woman. Paalberg 2 Table of Contents Abstract ................................................................................................................................ 1 Introduction ......................................................................................................................... 3 Research questions .............................................................................................................. 4 Previous research ................................................................................................................ -
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). -
“Rotten Culture”: from Japan to China MASTER of ARTS
“Rotten Culture”: from Japan to China by Nishang Li Bachelor of Arts, University of Victoria, 2016 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS In the Department of Pacific and Asian Studies Nishang Li, 2019 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. Thesis: “Rotten Culture” from Japan to China by Nishang Li Bachelor of Arts, University of Victoria, 2016 Supervisory Committee Dr. Michael Bodden, Supervisor Department of Pacific and Asian Studies Dr. Richard King, Department Member Department of Pacific and Asian Studies ii Abstract A new sub-culture, “Rotten Culture (腐文化) ”, evolved from Japanese Boys’ Love (BL) manga, has rapidly spread in China and dramatically influenced many areas of Chinese artistic creation. “Rotten Culture” is an extension of Boys’ Love, which indicates that Boys’ Love elements not only existed in manga, but emerged in anime, movies, TV series, and so on. As a start of an analysis of this phenomenon, this thesis will focus on the core of “Rotten Culture”, Boys’ Love, which exists in Chinese manga and web fiction. The central issues addressed by this thesis are: exploring the circulation of Boys’ Love from Japan to China; examining the aesthetics and themes of some of these works; and analyzing the motivations that explain why such a huge amount of people, both professional and non-professional, have joined in creating Boys’ Love art works. iii -
Tanigami S.A
10/05/2021 TANIGAMI S.A. www.tanigami.com UNSUNG CINDERELLA - T.03 9782382750131 - MEIAN - MANGA FR Seinen - Tranche-de-vie, Medical ARAI Mamare, ARAI Mamare Midori prend en charge Juri, une jeune fille présentant des troubles du comportement alimentaire. Elle s'est renfermée sur elle-même depuis que sa famille a décidé de ne pas annoncer à son grand-père qu'il est mourant. Pou EN STOCK 10.00 TOMBEE DU CIEL - T.11 / 20 9782368779712 - MEIAN - MANGA FR Shonen - Comedie, Fantastique MINAZUKI Sû, MINAZUKI Sû Je m'appelle Tomoki Sakurai. C'était un jour comme les autres jusqu'à ce que le coup de Sohara donne naissance à Tomoko,mon double féminin ! S'éveillant à la féminité, elle refuse qu'on redevienne une seule et même personne ! Oh là là, Ikaros, fais quelque chose !! Un beau jour, la petite fille que j'avais rencontrée au parc, apparaît de nouveau devant moi… EN STOCK 10.00 KINGDOM - T.59 9782382753095 - MEIAN - MANGA FR Seinen - Historique, Action HARA Yasuhisa, HARA Yasuhisa Après d'âpres combats dans les plaines de Shukai, l'armée de Qin est parvenue à s'emparer de l'imprenable Gyou, place-forte cruciale de Zhao. Mais la liesse est de courte durée, car les hommes d'Ousen sont à court de vivres, et leurs adversaires se tiennent prêts à détruire tout convoi qui tenterait de les ravitailler. Malgré les souffrances que Shin et ses frères d'armes ont déjà endurées, ils ne sont pas encore au bout de leurs peines... À moins, bien sûr, que le brillant général Ousen ait déjà tout prévu. -
Fjohnsen Saolsen.Pdf (1.972Mb)
BACHELOROPPGAVE: American animation VS. Japanese Animation FORFATTER(E): Stian Olsen Frank Johnsen Dato: 23.05.2012 Summary This bachelor thesis is a comparative study between American animation and Japanese animation. We take a look into differences, taking into account the culture, history, production- and the animation techniques employed. The main theoretical questions that are answered in this study are: - How has each side of animation influenced the culture surrounding it, and vice versa? -Why can Japanese animation studios presumably produce more than twice the amount that an American animation studio produces? - What are some of the structural differences when looking at similar, but ultimately different, productions from each side of animation? We have come to decisive conclusions to each theoretical question. The biggest cultural influence for Japanese animation is the Shinto religion. It is at the core of Japanese animation, and influences both storytelling and visual elements. In American animation, a shift happened in the culture, making its animation oriented towards children. In later years, it shifted again towards adults. This gave birth to adult-oriented animated sitcoms, which has become the norm in America. Japanese animation studios produce content faster than American animation studios. The biggest reasons for this is their budgets, how detailed the work is, and how hard the studio pushes themselves. Japanese anime is not as detailed as American animation, therefore it doesn’t take as long to produce. On average, 30 minutes of Japanese animation takes 1-3 months to produce, while 30 minutes of American animation takes 6-9 months to produce. Some of the biggest structural differences between Japanese and American animation is how they blur the line between good and evil, and how they pace their stories. -
A Summer of Legends!
April 19, 2016 (Tue) A Summer of Legends! Universal Studios Japan + Weekly Shonen Jump Characters from the world’s most popular manga will star in their own attractions! ”Universal Jump Summer” to open this year Only available from July 1 (Fri) to September 4, 2016 (Sun) Universal Studios Japan will be holding the “Universal Jump Summer” event for a limited time only, starting on July 1, 2016 (Fri). At long last, the collaboration of a lifetime is here. Universal Studios Japan continues to bring you the best of the world*1, joining forces with Japan's world-renowned manga magazine "Weekly Shonen Jump" (Shueisha) for an event of legendary proportions. Japan is in for a hot summer this year. ©Bird Studio/Shueisha, Fuji Television, Toei Animation © Eiichiro Oda/Shueisha, Fuji Television, Toei Animation ©Tsugumi Ohba, Takeshi Obata/Shueisha The “Universal Jump Summer” event combines the legendary works of Dragon Ball, Death Note, and One Piece, which have garnered enormous popularity for generations in Japan and throughout the world. An exhibition will also be held, featuring popular works from Weekly Shonen Jump. It’s a wild and crazy summer extravaganza in celebration of Universal Studios Japan’s 15th anniversary, for a summer you won’t forget. ”Universal Jump Summer” Lineup ■ ”Dragon Ball Z: The Real 4-D” It’s Super Saiyan Goku versus Frieza, Ruler of the Universe in another intense battle! The fierce clash between two legendary powerhouses in the Dragon Ball universe is brought to life in this jaw-dropping 4-D attraction. ● Dragon Ball Background Dragon Ball is a manga series written and illustrated by Akira Toriyama, running in Shonen Weekly Jump magazine from 1984 to 1995. -
Aniplex of America Adds Demon Slayer: Kimetsu No Yaiba to Spring Anime Line up on Hulu, Crunchyroll, and Funimationnow
FOR IMMEDIATE RELEASE APRIL 2, 2019 Aniplex of America Adds Demon Slayer: Kimetsu no Yaiba to Spring Anime Line Up on Hulu, Crunchyroll, and FunimationNow ©Koyoharu Gotoge / SHUEISHA, Aniplex, ufotable “Whenever happiness is destroyed, there's always the smell of blood.” SANTA MONICA, CA (APRIL 2, 2019) – Aniplex of America is proud to announce that Demon Slayer: Kimetsu no Yaiba will be available on Hulu, Crunchyroll, and FunimationNow starting April 6, 2019. This highly anticipated new series produced by ufotable (Fate/stay night [Heaven’s Feel] trilogy, Fate/Zero) is based on a popular manga by Koyoharu Gotoge, which quickly became a major hit in Weekly Shonen Jump magazine since it was first published in 2016 and currently boasts over 3 million copies in print. Set during the tumultuous Taisho period (1912 to 1926) in Japan, two siblings must learn to survive after their family is viciously slaughtered by demons. Aniplex of America recently hosted a special premiere event at the Aratani Theatre in Los Angeles on March 31, where lucky fans got to see the first five episodes of the series specially edited together as a feature-length film. The series stars Natsuki Hanae (Your lie in April, Fate/Aporcypha) and Akari Kito (BLEND-S, Record of Grancrest War) as siblings Tanjiro and Nezuko Kamado, alongside Hiro Shimono (Durarara!!x2, WWW.Working!!), Takahiro Sakurai (Cells at Work, Fate/Grand Order), and Yoshitsugu Matsuoka (Sword Art Online, Eromanga Sensei) in supporting roles. Haruo Sotozaki (Initial D: Third Stage, Naruto: Konoha Sports Festival) serves as the director with Akira Matsushima (Maria Watches Over Us, Tales of Zestiria the X) handling the character design.