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The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Otaku, Japanoido, Shinjinrui: Relação Afetiva Com a Imagem E Os Universos Ficcionais Do Anime
Otaku, Japanoido, Shinjinrui: relação afetiva com a imagem e os universos ficcionais do anime Otaku, Japanoido, Shinjinrui: affective relation with the image and fictional universes of anime Angela LONGO1 Resumo A partir do boom do anime nos anos 1990, o fenômeno otaku tem gerado reações diversas sobre recepção e consumo. O discurso sobre o otaku tende a oscilar entre duas noções: a de subcultura, por vezes com graus patológicos, e a noção cool japan da cultura mainstream. Iremos observar essas tendências na configuração do anime com os autores Tsugata Nobuyuki, Thomas Lamarre e Saitō Tamaki e nas teorizações sobre o otaku com os autores Tatsumi Takayuki, Okada Toshio e Azuma Hiroki. A nossa proposta é que a aproximação afetiva do otaku com o anime abre uma zona de autonomia dentro do movimento otaku. Palavras-chave: Otaku. Japanoido. Shinjinrui. Anime. Abstract From the anime boom in the 90's, the otaku phenomenon has generated diverse reactions on reception and consumption. The discourse on otaku tends to oscillate between two notions, that of subculture sometimes with pathological degrees and the cool japan of mainstream culture. We will observe these trends in the anime configurations with authors Tsugata Nobuyuki, Thomas Lamarre and Saitō Tamaki and in the theorizations about otaku with authors Tatsumi Takayuki, Okada Toshio and Azuma Hiroki. Our proposal is that the affective approach of the otaku with the anime opens a zone of autonomy within the otaku movement. Keywords: Otaku. Japanoido. Shinjinrui. Anime. Introdução Os mercados globais de distribuição de animação e mangá foram preconizados durante a década de 1990 pelo boom das redes de consumo não oficiais organizadas pelos fãs, ou otaku. -
Catalogo Paolo Barbieri Lavora Da Più Di Quindici Anni Per Il XVI Ed
IN COLLABORAZIONE CON: CON IL CONTRIBUTO DI: CON IL PATROCINIO DI: PARTNER: A PARTNER TECNICI: I R O G E T A C www.eurocosplay.com championships MAIN MEDIA PARTNER: MEDIA PARTNER: BENVENUTI ALLA XIX EDIZIONE DI ROMICS! GOLDRAKE, DRAGHI E METALUPO ATTERRANO A ROMICS Il regno della creatività Il fumetto è un veicolo eccezionale di espressione e una passione che aggrega tantissime persone, soprattutto ragazzi. Da qui nasce il successo di Romics, la parola agli autori : maestri internazionali in Romics e la scelta della Regione Lazio di un programma fittissimo di appuntamenti, per sostenere questa grande manifestazione. conoscere proprio tutti i segreti della matita! Siamo onorati di annunciare la presenza di Go Nagai, Romics , per noi, è un’occasione straordinaria per il papà di Goldrake, con lui sono cresciute tre incontrare i giovani e per presentare le generazioni di appassionati e di autori di fumetto e opportunità che la Regione Lazio mette loro a animazione. La storia del manga in persona varca la disposizione. Crediamo nelle nuove ‘generAzioni’ e investiamo nella creatività, nella soglia di Romics! capacità dei ragazzi di produrre innovazione, visioni e nuove letture del mondo. Accanto a lui, sempre premiati con i Romics d’Oro: William Simpson , leader storyboard artist della serie A tutti coloro che entreranno nel mondo di Romics auguro di divertirsi e di condividere cult Il Trono di Spade - Game of Thrones ; Averardo lo spirito di un grande evento internazionale che dimostra quanto la creatività sia un Ciriello , tra i più prolifici illustratori italiani, con oltre 70 anni di carriera. L’Arte del Fumetto e dell’illustrazione sono celebrate con splendide mostre : un grande ! elemento centrale e indispensabile per la nostra società. -
Protoculture Addicts #68
Sample file CONTENTS 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ PROTOCULTURE ✾ PRESENTATION ........................................................................................................... 4 STAFF NEWS ANIME & MANGA NEWS: Japan / North America ............................................................... 5, 10 Claude J. Pelletier [CJP] — Publisher / Manager ANIME & MANGA RELEASES ................................................................................................. 6 Martin Ouellette [MO] — Editor-in-Chief PRODUCTS RELEASES ............................................................................................................ 8 Miyako Matsuda [MM] — Editor / Translator NEW RELEASES ..................................................................................................................... 11 Contributing Editors Aaron K. Dawe, Asaka Dawe, Keith Dawe REVIEWS Kevin Lillard, James S. Taylor MODELS: ....................................................................................................................... 33, 39 MANGA: ............................................................................................................................. 40 Layout FESTIVAL: Fantasia 2001 (Anime, Part 2) The Safe House Metropolis ...................................................................................................................... 42 Cover Millenium Actress ........................................................................................................... -
Japanese Animation Guide: the History of Robot Anime
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 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. -
Mass Trans-Culture from East to West, and Back by Marco Pellitteri*
Mass Trans-Culture from East to West, and Back by Marco Pellitteri* * Marco Pellitteri (Palermo, 1974), sociologist and studious of mass media. Ph.D. student in Sociology and social research at Trento University (Italy). He writes for several magazines and reviews. Author the books Sense of Comics. La grafica dei cinque sensi nel fumetto (Roma, Castelvecchi, 1998), Mazinga Nostalgia. Storia, valori e linguaggi della Goldrake-generation (1st edition Roma, Castelvecchi, 1999; 2nd edition reviewed and developed Roma, King|Saggi, 2002), Anatomia di Pokémon. Cultura di massa ed estetica dell’effimero fra pedagogia e globalizzazione, Roma, SEAM, 2002; Conoscere l’animazione. Forme, linguaggi e pedagogie del cinema animato per ragazzi, Roma, Valore Scuola, 2004; all the books are reading list texts at the Faculty of Pedagogy, University of «Roma Tre», where he works as consultant with lectures and workshops. Info: [email protected]. Introduction For twenty five years we have been witnessing a remarkable and inevitable event, in historical and social- cultural sense, which has been playing on the stage of the sophisticated world display of mass media. By lots of people such event is seen more as a clash than a coinciding fact: a clash between the cultural and medial structures of western society and the sceneries of the contemporary eastern culture, in primis the Japanese one. Together with other social phenomena of large range coming from Asia’s several areas – as the Bruce Lee «case» in the sixties and seventies, the martial arts trend becoming a sport, the growing presence of a huge Chinese community throughout the European territory – there are hundreds of heroes, belonging to the Japanese imagery, who came to Europe, and in particular to Italy, distributed within the two main media technologies by which Japan offered us its characters: printed matter and audiovisual equipment. -
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019 TABLE OF CONTENTS 1 BANDAI NAMCO Group Outline 3 Related Market Data Group Organization Toys and Hobby 01 Overview of Group Organization 20 Toy Market 21 Plastic Model Market Results of Operations Figure Market 02 Consolidated Business Performance Capsule Toy Market Management Indicators Card Product Market 03 Sales by Category 22 Candy Toy Market Children’s Lifestyle (Sundries) Market Products / Service Data Babies’ / Children’s Clothing Market 04 Sales of IPs Toys and Hobby Unit Network Entertainment 06 Network Entertainment Unit 22 Game App Market 07 Real Entertainment Unit Top Publishers in the Global App Market Visual and Music Production Unit 23 Home Video Game Market IP Creation Unit Real Entertainment 23 Amusement Machine Market 2 BANDAI NAMCO Group’s History Amusement Facility Market History 08 BANDAI’s History Visual and Music Production NAMCO’s History 24 Visual Software Market 16 BANDAI NAMCO Group’s History Music Content Market IP Creation 24 Animation Market Notes: 1. Figures in this report have been rounded down. 2. This English-language fact book is based on a translation of the Japanese-language fact book. 1 BANDAI NAMCO Group Outline GROUP ORGANIZATION OVERVIEW OF GROUP ORGANIZATION Units Core Company Toys and Hobby BANDAI CO., LTD. Network Entertainment BANDAI NAMCO Entertainment Inc. BANDAI NAMCO Holdings Inc. Real Entertainment BANDAI NAMCO Amusement Inc. Visual and Music Production BANDAI NAMCO Arts Inc. IP Creation SUNRISE INC. Affiliated Business -
THE LEADING SOURCE for PROGRAM INFORMATION *LIST 0114 ALT LIS 1006 LISTINGS 1/16/14 12:50 PM Page 2
*LIST_0114_ALT_LIS_1006_LISTINGS 1/16/14 12:50 PM Page 1 WWW.WORLDSCREENINGS.COM JANUARY 2014 NATPE EDITION TVLISTINGS THE LEADING SOURCE FOR PROGRAM INFORMATION *LIST_0114_ALT_LIS_1006_LISTINGS 1/16/14 12:50 PM Page 2 MARKET FLOOR 10 Francs 425 Cineflix Rights 304 France Televisions Distribution 425 Motion Picture Corp. of America 132 SBS International 518 100% Distribution 425 CITVC 400 Fred Media 106 Multimedios Televisión 115 Scorpion TV 331 AB Media 415 CJ E&M 417 Fuji Television Network 113 Muse Distribution International 213 Shanghai TV Festival 608 AccuWeather 117 Construir TV 421 Gaumont Animation 425 Newen Distribution 120 Shoreline Entertainment 204 ADD Agency 130 CT Media 231 Global Agency 301 NHK Enterprises 521 Superights 425 AFP 505 David Harris Katz Entertainment 116 GMA Worldwide 104 Nippon Animation 531 Switch International 134 American Cinema International 508 DCD Rights 300 GoldBee 533 Nippon Television Network 228 Taipei Multimedia Production 515 Aniplex 311 DHX Media 316 GRB Entertainment 510 Nollywood Worldwide Entertainment 332 TF1 International 425 APA International Film Distributors 404 DIRECTV Latin America 628 Greenlight International 232 NuRay Pictures 124 Toei Animation 215 Argonon 31a DLT Entertainment 401 Hasbro Studios 102 Octapixx Worldwide 308 Triangle Entertainment 626 Arte France 425 DRG 201 Hoho Entertainment 331 Olympusat 624 TV Asahi 233 ATM Broadcast 325 Echo Bridge Entertainment 221 ITV-Inter Medya 421 Ooyala 604 TV France International 425 Audiovisual from Spain 225 Egeda US 616 Kanal D 410 Optomen Television 331 TV Latina 604k Begin 108 Electric Sky 331c KBS Media 419 Osiris Entertainment 212 TVS 218 Bender Media Services 411 Electus International 127 Keshet International 634 Pact/UK Indies 331 Twofour 331 Beverly Boy Productions 126 Elk Entertainment 138 KOCCA 415 Passion Distribution 331b Upside Distribution 425 Bonneville Distribution 501 Espresso TV 331 Lagardère Entertainment Rights 118 Peace Point Rights 312 VIPO Land 226 Boomerang TV 225 Epic Films 114 Latin Media Corp. -
Jumpchain Unofficial Claim List
Jumpchain Unofficial claim list Pyroanon: 40k: Rogue Trader. Ricrod: How a Realist Hero Rebuilt the Kingdom Pandora Hearts Vanadis I Saved Too Many Heroines And Caused The Apocalypse Heavensanon: Chrono Cross Terranigma Imperial Guard Tau Breath of Fire 2 Familiar of Zero(?) Devilman (?) ActionReplay: The Breaker/New Waves Death Mage Who Doesn't Want A Fourth Time Lurkanon: Momodora toukiden 2 (?) Cataquack Warrior: Kemono Friends Yorokonde: Cryptark (On hold until the sequel game comes out) Etrian Odyssey 5 DevilSurvivorAnon: Nocturne Soul Nomad Devil Children ???? Princess Tutu(?) Rozen Maiden(?) Princess and the Frog(?) A choice of games game(?) Unoff: Yugioh first series One-armed anon: World of Warcraft Protoss(?) Genesisanon: Afrocentrism Kino no tabi The Violinist of Hamelin and its sequel Genesis New testament Cool cats don't trip: WHFB - Lizardmen The Simpsons. iZombie(?) Updates: DC New Vegas Shadow of Mordor NikaMoth: Princess: The Hopeful Kingdom Come (Elseworlds + DC Comics) Ulster Cycle (Mythology) Urusei Yatsura Captain Underpants Smile World Amagi Brilliant Park Pokemon Sun And Moon. Farethere City Toriko-anon: Fighting Foodons Evil Genius (?) Anon: Westside Story Choujin Sensen - Moon Hunters The Boundary novel Golden Age fan universe for Gundam - Mechanicus - Godzilla Heisei Mazinger-Z - Story of Seasons - Rune Factory 4 - Crysis - Returning from an isekai world - Sci-fi Isekai - Hearthstone - 9 - Wonder Woman - XBC2 - I Hate Fairyland - Warhammer Fantasy Chaos Warriors - Darling in the FranXX - Tensei Shitara Slime -
Nota De Prensa Animayo Madrid Desvelará Las Claves Más Actuales De La Financiación De Animación Y Efectos Especiales En Espa
NOTA DE PRENSA ANIMAYO MADRID DESVELARÁ LAS CLAVES MÁS ACTUALES DE LA FINANCIACIÓN DE ANIMACIÓN Y EFECTOS ESPECIALES EN ESPAÑA • El próximo viernes 11 de diciembre, en la Academia Española de Cine asistiremos a una mesa debate con ponentes de primer nivel dentro del panorama español como CARLOS BIERN LIVIRIA, presidente de DIBOOS/ CEO BRB Internacional y MANUEL CRISTOBAL, productor audiovisual de Dragoia Media. El sector de la animación y los efectos especiales en España ha desarrollado un claro avance creativo e industrial en las últimas décadas. Las mejoras fiscales tanto en inversión como en I+D han sido piezas claves de este crecimiento y hace que las producciones españoles adquieran cada vez más presencia internacional, tanto en taquilla de cine, como en series de TV, publicidad o internet. Esta ponencia y mesa debate invita a la reflexión sobre aspectos claves de la producción audiovisual en España, tales como: Los verdaderos problemas a la hora de levantar un proyecto audiovisual, dónde y cómo buscar coproductores, cuáles son las fuentes de financiación existentes, la influencia de las televisiones, etc... Esta es una de las actividades enmarcadas dentro del programa Animayo Madrid 2015, el Festival Internacional de Cine de Animación, Efectos Especiales y Videojuegos Animayo que se presenta en Madrid en su décima edición con un programa de 2 días que incluye: master Class, ponencias, talleres y mesas debate de algunos de los más destatacos y reconocidos especialistas en animación, efectos visuales y videojuegos, creadores digitales e ilustradores de reconocido prestigio internacional que han trabajado y trabajan para compañías como Disney, Dreamworks, Brb International, Kandorgrafics, Pyrostudios, Perro Verde Films, Dragoia Media o Ilion Animation Studios. -
Full Arcade List OVER 2700 ARCADE CLASSICS 1
Full Arcade List OVER 2700 ARCADE CLASSICS 1. 005 54. Air Inferno 111. Arm Wrestling 2. 1 on 1 Government 55. Air Rescue 112. Armed Formation 3. 1000 Miglia: Great 1000 Miles 56. Airwolf 113. Armed Police Batrider Rally 57. Ajax 114. Armor Attack 4. 10-Yard Fight 58. Aladdin 115. Armored Car 5. 18 Holes Pro Golf 59. Alcon/SlaP Fight 116. Armored Warriors 6. 1941: Counter Attack 60. Alex Kidd: The Lost Stars 117. Art of Fighting / Ryuuko no 7. 1942 61. Ali Baba and 40 Thieves Ken 8. 1943 Kai: Midway Kaisen 62. Alien Arena 118. Art of Fighting 2 / Ryuuko no 9. 1943: The Battle of Midway 63. Alien Challenge Ken 2 10. 1944: The LooP Master 64. Alien Crush 119. Art of Fighting 3 - The Path of 11. 1945k III 65. Alien Invaders the Warrior / Art of Fighting - 12. 19XX: The War Against Destiny 66. Alien Sector Ryuuko no Ken Gaiden 13. 2 On 2 OPen Ice Challenge 67. Alien Storm 120. Ashura Blaster 14. 2020 SuPer Baseball 68. Alien Syndrome 121. ASO - Armored Scrum Object 15. 280-ZZZAP 69. Alien vs. Predator 122. Assault 16. 3 Count Bout / Fire SuPlex 70. Alien3: The Gun 123. Asterix 17. 30 Test 71. Aliens 124. Asteroids 18. 3-D Bowling 72. All American Football 125. Asteroids Deluxe 19. 4 En Raya 73. Alley Master 126. Astra SuPerStars 20. 4 Fun in 1 74. Alligator Hunt 127. Astro Blaster 21. 4-D Warriors 75. AlPha Fighter / Head On 128. Astro Chase 22. 64th. Street - A Detective Story 76. -
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.