Newsletter 23/07 (Nr
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Edmond Press
International Press International Sales Venice: wild bunch The PR Contact Ltd. Venice Phil Symes - Mobile: 347 643 1171 Vincent Maraval Ronaldo Mourao - Mobile: 347 643 0966 Tel: +336 11 91 23 93 Email: [email protected] Email: [email protected] Fax: 041 5265277 Carole Baraton 62nd Mostra Venice Film Festival: Tel: +336 20 36 77 72 Hotel Villa Pannonia Email: [email protected] Via Doge D. Michiel 48 Gaël Nouaile 30126 Venezia Lido Tel: +336 21 23 04 72 Tel: 041 5260162 Email: [email protected] Fax: 041 5265277 Silva Simonutti London: Tel: +33 6 82 13 18 84 The PR Contact Ltd. Email: [email protected] 32 Newman Street London, W1T 1PU Paris: Tel: + 44 (0) 207 323 1200 Wild Bunch Fax: + 44 (0) 207 323 1070 99, rue de la Verrerie - 75004 Paris Email: [email protected] tel: + 33 1 53 01 50 20 fax: +33 1 53 01 50 49 www.wildbunch.biz French Press: French Distribution : Pan Européenne / Wild Bunch Michel Burstein / Bossa Nova Tel: +33 1 43 26 26 26 Fax: +33 1 43 26 26 36 High resolution images are available to download from 32 bd st germain - 75005 Paris the press section at www.wildbunch.biz [email protected] www.bossa-nova.info Synopsis Cast and Crew “You are not where you belong.” Edmond: William H. Macy Thus begins a brutal descent into a contemporary urban hell Glenna: Julia Stiles in David Mamet's savage black comedy, when his encounter B-Girl: Denise Richards with a fortune-teller leads businessman Edmond (William H. -
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......... -
Kinotayo-2010
PROGRAMME - PROGRAMME - PROGRAMME - PROGRAMME - 20 Nov 11 Déc 2010 5eme FESTIVAL DU FILM JAPONAIS CONTEMPORAIN Mascotte de Kinotayo 2010 140 projectionsAvec la participation d'Écrans - d'asie 25 villes Kinotayo2010 Yoshi OIDA, l’Acteur flottant, président du Festival Kinotayo 2010 Pour le festival Kinotayo, c’est un immense honneur que d’avoir pour président ce comédien, acteur, metteur en scène et écrivain insaisissable, animé par l’omniprésente énergie de la vie, sur scène et en dehors. Yoshi Oida est un acteur hors du commun. Né à Kobe en 1933, il a dédié sa vie aux théâtres du monde entier, en ayant pour seule ligne de conduite de renoncer à la facilité. Son apprentissage commence au Japon : il est initié au théâtre Nô par les plus grands maîtres de l’école Okura. De cette expérience, il retirera l’importance de l’harmonie entre tous les éléments qui constituent l’outil principal du comédien : son corps. Puis en 1968 Yoshi Oida est invité à Paris par Jean-Louis Barrault pour travailler avec Peter Brook. Il fonde avec ce dernier le Centre International de Recherche Théâtrale (CIRT). Au contact du « magicien du théâtre européen », il apprend que le comédien doit être « un vent léger, qui devenant de plus en plus fort, doit allumer une flamme et la faire grandir ». Aux côtés du maître, il apprend également la mise en scène, métier qui l’occupe énormément aujourd’hui. Il sillonne alors le monde à la recherche de la maîtrise théâtrale la plus complète, apprenant les jeux Africains, Indien, Persan. Il s’interroge sur la frontière entre la scène et la vie de tous les jours : « Qu’ai-je appris sur la scène qui pourrait m’aider à vivre ma vie d’homme ordinaire ? ». -
11Eyes Achannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air
11eyes AChannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air Master Amaenaideyo Angel Beats Angelic Layer Another Ao No Exorcist Appleseed XIII Aquarion Arakawa Under The Bridge Argento Soma Asobi no Iku yo Astarotte no Omocha Asu no Yoichi Asura Cryin' B Gata H Kei Baka to Test Bakemonogatari (and sequels) Baki the Grappler Bakugan Bamboo Blade Banner of Stars Basquash BASToF Syndrome Battle Girls: Time Paradox Beelzebub BenTo Betterman Big O Binbougami ga Black Blood Brothers Black Cat Black Lagoon Blassreiter Blood Lad Blood+ Bludgeoning Angel Dokurochan Blue Drop Bobobo Boku wa Tomodachi Sukunai Brave 10 Btooom Burst Angel Busou Renkin Busou Shinki C3 Campione Cardfight Vanguard Casshern Sins Cat Girl Nuku Nuku Chaos;Head Chobits Chrome Shelled Regios Chuunibyou demo Koi ga Shitai Clannad Claymore Code Geass Cowboy Bebop Coyote Ragtime Show Cuticle Tantei Inaba DFrag Dakara Boku wa, H ga Dekinai Dan Doh Dance in the Vampire Bund Danganronpa Danshi Koukousei no Nichijou Daphne in the Brilliant Blue Darker Than Black Date A Live Deadman Wonderland DearS Death Note Dennou Coil Denpa Onna to Seishun Otoko Densetsu no Yuusha no Densetsu Desert Punk Detroit Metal City Devil May Cry Devil Survivor 2 Diabolik Lovers Disgaea Dna2 Dokkoida Dog Days Dororon EnmaKun Meeramera Ebiten Eden of the East Elemental Gelade Elfen Lied Eureka 7 Eureka 7 AO Excel Saga Eyeshield 21 Fight Ippatsu! JuudenChan Fooly Cooly Fruits Basket Full Metal Alchemist Full Metal Panic Futari Milky Holmes GaRei Zero Gatchaman Crowds Genshiken Getbackers Ghost -
Cannes 2013 Contacts: BFI Film Fund T: +44 (0) 207 173 3223 E: [email protected] W: Bfi.Org.Uk Screening in Directors’ Fortnight
CANNES 2013 contacts: BFI Film Fund T: +44 (0) 207 173 3223 E: [email protected] W: bfi.org.uk ScREENING IN DIRECTORS’ FORTNIGHT LAST DAYS ON MARS THE SELFISH GIANT director: Ruairi Robinson director: Clio Barnard producers: Michael Kuhn & Andrea Cornwell producer: Tracy O’Riordan screenplay: Clive Dawson (based on the short story screenplay: Clio Barnard The Animators by Sydney J. Bounds) cast: Conner Chapman, Shaun Thomas, Sean Gilder cast: Liev Schreiber, Elias Koteas, Romola Garai, Goran Kostic, Johnny Harris, Tom Cullen, Yusra THE SELFISH GIANT is a contemporary fable about 13 Warsama & Olivia Williams year old Arbor and his best friend Swifty. Excluded from school and outsiders in their own neighbourhood, the Official Screenings two boys meet Kitten, a local scrapdealer – the Selfish Mon 20th May 14.30 Théâtre Croisette Giant. They begin collecting scrap metal for him using a horse and cart. Swifty has a natural gift with horses Mon 20th May 22.00 Théâtre Croisette while Arbor emulates Kitten – keen to impress him and Thu 23rd May 22.00 Studio 13 make some money. However, Kitten favours Swifty, Fri 24th May 22.30 Cinéma Les Arcades leaving Arbor feeling hurt and excluded, driving a wedge between the boys. Arbor becomes increasingly greedy and exploitative, becoming more like Kitten. Tensions build, international sales: leading to a tragic event, which transforms them all. Focus Features International Résidence du Gray d’Albion 12, la Croisette, 2nd Floor Official Screenings T: +33 (0)4 93 39 66 20 Fri 17th May 9.00 Théâtre -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Download the Program (PDF)
ヴ ィ ボー ・ ア ニ メー シ カ ョ ワ ン イ フ イ ェ と ス エ ピ テ ッ ィ Viborg クー バ AnimAtion FestivAl ル Kawaii & epikku 25.09.2017 - 01.10.2017 summAry 目次 5 welcome to VAF 2017 6 DenmArk meets JApAn! 34 progrAmme 8 eVents Films For chilDren 40 kAwAii & epikku 8 AnD families Viborg mAngA AnD Anime museum 40 JApAnese Films 12 open workshop: origAmi 42 internAtionAl Films lecture by hAns DybkJær About 12 important ticket information origAmi 43 speciAl progrAmmes Fotorama: 13 origAmi - creAte your own VAF Dog! 44 short Films • It is only possible to order tickets for the VAF screenings via the website 15 eVents At Viborg librAry www.fotorama.dk. 46 • In order to pick up a ticket at the Fotorama ticket booth, a prior reservation Films For ADults must be made. 16 VimApp - light up Viborg! • It is only possible to pick up a reserved ticket on the actual day the movie is 46 JApAnese Films screened. 18 solAr Walk • A reserved ticket must be picked up 20 minutes before the movie starts at 50 speciAl progrAmmes the latest. If not picked up 20 minutes before the start of the movie, your 20 immersion gAme expo ticket order will be annulled. Therefore, we recommended that you arrive at 51 JApAnese short Films the movie theater in good time. 22 expAnDeD AnimAtion • There is a reservation fee of 5 kr. per order. 52 JApAnese short Film progrAmmes • If you do not wish to pay a reservation fee, report to the ticket booth 1 24 mAngA Artist bAttle hour before your desired movie starts and receive tickets (IF there are any 56 internAtionAl Films text authors available.) VAF sum up: exhibitions in Jane Lyngbye Hvid Jensen • If you wish to see a movie that is fully booked, please contact the Fotorama 25 57 Katrine P. -
BBC WEEK 39, 22 - 28 September 2012 Programme Information, Television & Radio BBC Scotland Press Office Bbc.Co.Uk/Mediacentre Bbc.Co.Uk/Iplayer
BBC WEEK 39, 22 - 28 September 2012 Programme Information, Television & Radio BBC Scotland Press Office bbc.co.uk/mediacentre bbc.co.uk/iplayer THIS WEEK’S HIGHLIGHTS TELEVISION & RADIO / BBC WEEK 39 _____________________________________________________________________________________________________ SUNDAY 23 SEPTEMBER Happy Birthday River City NEW BBC One Scotland MONDAY 24 SEPTEMBER Gary: Tank Commander NEW BBC One Scotland Seeking Someone Special NEW BBC Two Scotland A History of Scottish Nationalism, Prog 1/5 NEW BBC Radio Scotland TUESDAY 25 SEPTEMBER Sibling Stories, Prog 5/5 LAST IN SERIES BBC Radio Scotland WEDNESDAY 26 SEPTEMBER Sportscene: Rangers v Motherwell NEW BBC One Scotland FRIDAY 28 SEPTEMBER Landward NEW BBC Two Scotland SUNDAY 23 SEPTEMBER TELEVISION & RADIO HIGHLIGHTS / BBC WEEK 39 _____________________________________________________________________________________________________ Happy Birthday River City NEW Sunday 23 September BBC One Scotland, 6.25 – 7.25pm bbc.co.uk/rivercity River City is celebrating 10 years on BBC Scotland this week and to mark the occasion documentary Happy Birthday River City looks back on over a decade of gripping storylines in Shieldinch. Narrated and produced by Tony Kearney, who once walked Montego Street as Scott, Tony speaks to former and current cast from the drama, along with some famous fans from the world of showbiz and politics. The documentary also looks at the major storylines that have drawn in audiences, including Archie’s murder and subsequent reappearance, baby -
Newsletter 15/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen. -
Free, M. (2015) Don't Tell Me I'm Still...Pdf
Pre-publication version. This is scheduled for publication in the journal Critical Studies in Television, Vol. 10, Summer 2015. It should be identical to the published version, but there may be minor adjustments (typographical errors etc.) prior to publication. Title: ‘Don’t tell me I’m still on that feckin’ island’: Migration, Masculinity, British Television and Irish Popular Culture in the Work of Graham Linehan Author: Marcus Free, Mary Immaculate College, University of Limerick – [email protected] Abstract The article examines how, through such means as interviews and DVD commentaries, television situation comedy writer Graham Linehan has discursively elaborated a distinctly migrant masculine identity as an Irish writer in London. It highlights his stress on how the working environment of British broadcasting and the tutelage of senior British broadcasters facilitated the satirical vision of Ireland in Father Ted. It focuses on the gendering of his narrative of becoming in London and how his suggestion of interplays between specific autobiographical details and his dramatic work have fuelled his public profile as a migrant Irish writer. Graham Linehan has written and co-written several situation comedies for British television, including Father Ted (with Arthur Mathews – Channel 4, 1995-98); Black Books (with Dylan Moran – Channel 4, 2000-2004 (first series only)); The IT Crowd (Channel 4, 2006- 13); and Count Arthur Strong (with Steve Delaney – BBC, 2013-15). Unusually, for a television writer, he has also developed a significant public profile in the UK and Ireland through his extensive interviews and uses of social media. Linehan migrated from Dublin to London in 1990 and his own account of his development as a writer stresses his formation through the intersection of Irish, British and American influences. -
From the Workshop of JJ Abrams
CHAPTER SIX From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship Leora Hadas University of Nottingham Whether ‘New golden age’ (Leopold, 2013) or ‘Peak TV’ (Paskin, 2015) – whatever glowing accolades cultural commentators now choose to use, all describe television in the United States as going from strength to strength. For a sustained number of years now, critics and popular opinion alike has celebrated a qualitative transformation in the output of an industry that has struggled for years to shed the image of a ‘vast wasteland’ (Minow, 1961). In critical and academic circles alike, credit for these exciting developments and the transformation of US television has tended to focus on a specific feature of the contemporary industry: the figure of the showrunner, television’s new auteur (Martin, 2013). The emergence of the showrunner-as-auteur has provided US television with a crucial source of cultural legitimacy, one traceable back to Bourdieu’s concept of the ‘“charisma” ideology’ (1980, p. 262) at work in judgements of artistic value. Shyon Baumann (2007) has analysed how film found legitimation as How to cite this book chapter: Hadas, L. 2017. From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 87–103. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.f. License: CC-BY- NC-ND 4.0 88 Collaborative Production in the Creative Industries an art form in the 1960s through the celebration of autonomous film artists.