DAIDO MORIYAMA Born 1938 Ikeda City, Osaka, Japan Lives and Works in Tokyo, Japan
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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......... -
Audition How Does the 1999 Film Relate to the Issues That Japanese Men and Women Face in Relation to Romantic Pairing?
University of Roskilde Audition How does the 1999 film relate to the issues that Japanese men and women face in relation to romantic pairing? Supervisor: Björn Hakon Lingner Group members: Student number: Anna Klis 62507 Avin Mesbah 61779 Dejan Omerbasic 55201 Mads F. B. Hansen 64518 In-depth project Characters: 148,702 Fall 2018 University of Roskilde Table of content Problem Area ........................................................................................................................................... 7 Problem Formulation .............................................................................................................................. 9 Motivation ............................................................................................................................................... 9 Delimitation ........................................................................................................................................... 10 Method .................................................................................................................................................. 11 Theory .................................................................................................................................................... 12 Literature review ............................................................................................................................... 12 Social Exchange Theory .................................................................................................................... -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Never Gonna Fall for Modern Love
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Never Gonna Fall for Modern Love The Negative Population Growth of Japan Explored Ritgerð til BA-prófs Sunna Axelsdóttir Kt.: 151092-2929 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2015 Abstract The main purpose of this essay is to attempt to shed light on possible underlying causes behind the drastic negative population growth in Japan. Additionally, similar trends of negative population growth around the world will be looked at, in light of the situation in Japan. The first chapter of this essay provides a brief outline of statistics both from Japan and other countries showing the development of the birth rate in those regions. Following the outline is a subchapter which aims to explain the statistics, and subsequently outline the consequences of negative population growth on the planet and the economy. Through this analysis of statistical data the goal is to gain insight into possible problems the governments of various countries are facing. The second chapter explores how various social changes within the Japanese society have affected the birth rate in Japan. The third chapter attempts to describe the sexual behavior of the younger generations in Japan today, as well as explore the various services many in Japan have begun to use as substitutes for relationships, contemplating whether these factors can be linked with the declining birth rate. The fourth and final chapter discusses the Japanese government’s methods and attempts to increase the birthrate. These methods are then compared with measures taken by other nations with similar problems. 1 Table of Contents Abstract.................................................................................Error! Bookmark not defined. -
Introduction
Introduction The Ohio Japan Project began in the mid-1980’s when Ohio agreed to join with Michigan, Minnesota, and Wisconsin to form The Great Lakes in the Schools Project, funded by the U.S.-Japan Foundation. The members of the project from Ohio developed a series of lessons on Japan. During a trip to Japan in 1988, the Ohio team discussed these lessons with educators in Japan and had them formally critiqued by the International Society for Educational Information, Inc. in Tokyo. The society published a version of the lessons in Japan, while in Ohio they were published as Learning About Our World: Japan. Again with funding form the U.S.-Japan Foundation, the Ohio Japan Project sent a delegation of teachers in Ohio to Japan for two weeks in June-July, 2001. While there, the teachers gathered information to update the lessons previously published and to develop new ones, which reflect more current developments in Japan. Before and during the trip to Japan, the participants spent a great deal of time studying how the Japanese develop lessons that enhance deeper understanding by the students of the concepts to be taught. These lessons reflect the way Japanese teachers construct their lessons to accomplish that deeper level of knowledge and skill development. In this way, students retain the information for a longer period of time, which will help them be more successful on the future state achievement tests and the Ohio Graduation Test. The original publication of lessons identified the connections to the social studies and foreign languages curriculum models. -
Provoke As a Collective Practice of Photographic Realism
PROVOKE AS A COLLECTIVE PRACTICE OF PHOTOGRAPHIC REALISM by TRISTAN IGNAS-MENZIES B.A., The University of British Columbia, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History, Visual Art & Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Tristan Ignas-Menzies, 2016 Abstract Comprised of the critic Taki Kōji, poet Okada Takahiko, and photographers Nakahira Takuma, Takanashi Yutaka, and Moriyama Daido (who joined with the publication of the second issue), the photographic journal Provoke ran for three issues between 1968 and 1969. My thesis considers Provoke in terms of its status as a physical and commercial object within the socio-economic context of late 1960s Japan so as to offer a perspective into the collaborative endeavour represented by the journal as a whole. I argue that Provoke attempted to mobilize photography’s documentary potential in the face of the abstract conditions of Japan’s modern capitalist society. This was operationalized as a mode of photographic realism whose access to reality was a function of the journal’s collective form. The necessity for a specifically collective engagement with reality was articulated via the group’s engagement with Marxist theory: in the writings its members contributed to the journal they argued that the subjective alienation characterizing Japan’s capitalist modernity had rendered invisible the individual’s relation to the social whole. ii Preface This thesis -
The Essential Is in the Incidental : a Re-Mediation of Urban Experience
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Essential is in the Incidental: A Re-mediation of Urban Experience An exegesis in partial fulfilment of the requirements for the degree of Master of Fine Arts Massey University, Wellington, New Zealand Daniel Rose 2016 Abstract I drink coffee, take photos, and I would like to be a florist. 2 Table of Contents The Beginning 1 Flower Influence 3 The Post Modern City 5 Derive Extended 8 The Spectacle 9 Fictive Dreams / Second Reality 10 The Contingency of Shopping at Bunnings Warehouse 14 Emerging from the Interface 14 End 17 Bibliography 18 3 4 The Beginning “The city is overflowing, and with the flood of material things a revolt is beginning” (qtd. in Prichard 88). For me, the above quote1 by Japanese theorist-photographer, Takuma Nakahira (1938-2015), is an historical placeholder for photography that reorients the mass media spectacle of the urban environment towards a new image of the city. It is an image that documents the everyday imbued with subjective engagement of the city. Nakahira was instrumental in founding the influential photography collective, Provoke, whose eponymous and short-lived magazine2 is currently having a resurgence of interest in the West3. Subtitled Provocative Materials for Thought, Provoke had an explosive impact on the status quo of Japanese photography at the time and has reverberated through to current day practices of urban engagement with the camera. -
Takuma Nakahira February 11 – March 18, 2017 Aura Gallery Taipei Opening Reception : February 11 Sat
Takuma Nakahira February 11 – March 18, 2017 aura gallery taipei opening reception : February 11 Sat. 3 pm - Takuma Nakahira,Untitled,2010,Chromogenic print,90 x 60 cm ©Gen Nakahira aura gallery taipei is pleased to announce a solo exhibition by Japanese photographer Takuma Nakahira to launch the 2017 season. This is the first gallery exhibition after the artist passed away in 2015. The exhibition will feature the works exhibited in The Museum of Fine Arts, Houston and Mori Museum, Tokyo. 亦安畫廊台北 台灣台北市大安區敦化南路一段 313 號 1 樓 aura gallery taipei 1F No.313 Sec. 1 DunHua S. Rd., Taipei 106, Taiwan +886-2-2752-7002 [email protected] www.aura-taipei.com Takuma Nakahira has long been regarded an icon of Japanese photography. “Provoke” created a new photographic language to imagery, discourses and politics. After four decades, “Provoke” became the most major context for research Japanese avant-garde. But after 1970, Nakahira underwent a decisive change to refine his thinking of photography. His process-based installation “Circulation: Date, Place, Events” for the 1971 Paris Biennale was one among them. During a week, Nakahira lingered and took the pictrures on the streets of Paris every day; every evening the artist developed the films and prints rapidly and glued those black and white photographs to the wall and floor inside the biennale hall on the next day. After one week, there were nearly 600 pictures in all. “Circulation: Date, Place, Events” transformed photography into performance and dismantled the subjected consciousness. Takuma Nakahira,Circulation Date, Place, Events,1971,gelatin silver print,16 x 20 inch ©Gen Nakahira In 1973, Nakahira destroyed almost all of his negatives and prints, only “Circulation: Date, Place, Events” still exists because of the discovery of the negatives. -
Daido Moriyama
!1 of !8 Daido Moriyama Born in Osaka in 1938. Lives and works in Tokyo. Education 1960’s Assistant at Takeji Iwamiya’s studio in Osaka. Settles in Tokyo in 1961, first meeting with Eikoh Hosoe and Shomei Tomatsu. Becomes assistant to Eikoh Hosoe on the series ‘Ordeal by Roses’ with writer Yukio Mishima. First personal works in 1964. 1968-1972 Collaborates with Provoke group (starting with Provoke #2) Publishes 3 seminal books: Japan: A Photo Theater, Farewell Photography and A Hunter. 1971 First travel abroad: to New York with friend and designer Yokoo Tadanori. Another Country in New York is self-published during a ‘printing show’ performance in Tokyo in 1974. 1972-1973 Publishes issues #1 to #5 of Record, his personal photography magazine. Awards 1967 Award for New Artist, Japan Photo-Critics Association 1983 Photographer of the Year, Japan Photographic Society 2003 The 44th Mainichi Art Award 2004 Deutsche Gesellschaft für Photographie (DGPh) 2012 International Center of Photography Infinity Award, USA Exhibitions 2015 ‘Actor: Shimizu Isamu’, Akio Nagasawa Gallery, Tokyo, Japan 2014 ‘Daido Moriyama endless works N/S’, Okinawa Prefectural Museum & Art Museum, Okinawa, Japan ‘Daido Moriyama: Searching Journeys’, Simon Lee Gallery, Hong Kong, China Jean-Kenta Gauthier | office: 47 rue Blanche F-75009 Paris | [email protected] !2 of !8 2013 ‘Labyrinth + Monochrome’, Rencontres d’Arles, France ‘The Daido Moriyama cycle, Part III: Silkscreens’, Polka Galerie, Paris, France ‘Daido Moriyama: Monochrome’, Kichijoji Art Museum, Tokyo, -
Yumiko Chiba Associates
Yumiko Chiba Associates Booth No. D10 12 Nov – 15 Nov, 2015 Grand Palais (Paris) www.parisphoto.com/ 1970s Japanese Experimental Photography Jiro Takamatsu Keiji Uematsu Kanji Wakae Masafumi Maita Norio Imai (External Wall) Ryudai Takano ©The Estate of Jiro Takamatsu, Courtesy of Yumiko Chiba Associates Park Grace Shinjuku Bldg. 316, 4-32-6, Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 Japan Opening Hours: 12:00 - 19:00 (Closed on Sunday, Monday, National Holiday) [email protected] +81-3-6276-6731 From the end of ‘60s to the early ‘70s, Japanese contemporary art has seen many works, which used photographs as medium. There was a diversified development in method of those works; some were influenced with the pop art which rose in America in the ‘60s and the other like hyper-realism were focusing on breaking conventional forms. As essence of this art, being also affected by Mono-ha, there were fundamental questions to art itself in terms of perception, matters, and recognition as well as representation, and there were also experimental action by the artists who connected photography with art in order to express their idea. In the western world, many museums or galleries held the exhibitions for this kind of attempt in art till 80’s. While, in Japan, this art movement did not become prominent compared with Mono-ha, which was the mainstream in the Japanese art history after the World War II. And it has not even been verified in its meaning and significance to this date. On the other hand, there was a radical verification in the genre of photography from ‘60s to ‘70s. -
Daido MORIYAMA
Daido MORIYAMA 1938 Born in Ikeda City, Osaka SOLO EXHIBITIONS 2020 BOKU, Akio Nagasawa Gallery GINZA, Tokyo, Japan A Diary, Foto Colectania, Barcelona, Spain Silkscreen, Taka Ishii Gallery Photography / Film, Tokyo, Japan 2019 Simon Lee Gallery, Hong Kong A Diary, Hasselblad Center, Göteborg, Sweden [Cat.] RECORD No.42, Akio Nagasawa Gallery AOYAMA, Tokyo, Japan WITHIN THE SHADOWS, Bruce Silverstein Gallery, New York, NY, USA LABYRINTH (Remix), Akio Nagasawa Gallery GINZA, Tokyo, Japan Ango Daido, Mizuma, Kips & Wada Art, New York, NY, USA Kudan House, Tokyo, Japan 2018 RADIATION (color), Akio Nagasawa Gallery GINZA, Tokyo, Japan Un jour d'été, Musée Nicéphore Niépce, Chalon-sur-Saône, France Daido Tokyo Color, MATE Mario Testino Museum, Lima, Peru [Cat.] SHASHIN: ARE-BURE-BOKE, Michel Hoppen Gallery, London, UK Uwajima, Akio Nagasawa Gallery Aoyama, Tokyo, Japan SCENE, Hamiltons Gallery, London, UK Ango, Poetic Scape, Gallery 176, Tokyo, Japan [Cat.] Radiation, Each Modern, Taipei Kei, NaDiff, Tokyo, Japan Record no. 35 + 36, Akio Nagasawa Gallery AOYAMA, Tokyo, Japan [Cat.] 2017 Artist Rooms: Daido Moriyama, Tate Modern, London, UK Daido Moriyama: Tokyo Color, Luhring Augustine Bushwick, Brooklyn, NY, USA Daido Moriyama: Pretty Woman, Akio Nagasawa Gallery, Tokyo, Japan Daido Moriyama, Miyanomori International Museum of Art, Hokkaido, Japan Odasaku, Poetic Scape, Gallery 176, Tokyo, Japan 2016 color + tights, Taka Ishii Gallery Kitasando, Tokyo, Japan Daido Moriyama: Prints and Books from 1960s–1980s, Singapore International Photography -
Dossier De Presse
Dossier de presse Vernissage le 9 mai de 10h à 12h En présence du photographe 2 SOMMAIRE Communiqué de presse ..................................................... p.3 Introduction par Agnès Sire ............................................... p.6 Biographie ......................................................................... p.7 Visuels libres de droits ...................................................... p.8 Catalogue d’exposition (Toluca Editions /RM) .................... p.12 Infos utiles......................................................................... p.13 Conversations de la Fondation HCB .................................... p.14 Communiqué de la Fondation HCB .................................... p.15 Yutaka Takanashi à la Fondation HCB, 2 impasse Lebouis 75014 Paris, du 10 mai au 29 juillet 2012 www.henricartierbresson.org Contact Presse : Jessica Retailleau T 01 56 80 27 03 / F 01 56 80 27 01/ [email protected] 3 J’ai pris quantité de photos de la ville en train de changer au fil du temps. J’ai changé d’appareil. J’ai changé la focale de mes objectifs. J’ai changé mon rythme de marche pendant que je prenais mes photos. Mon but n’est pas d’empiler jusqu’au ciel des chefs d’œuvre pour former une pyramide, mais de marcher les pieds sur terre pour faire des images anonymes. Je vais continuer à marcher de plus en plus loin en traçant une ligne infinie et ce sera tout. Yutaka Takanashi Depuis toujours, Yutaka Takanashi photographie la ville de près, de loin, voire de très loin. Du 10 mai au 29 juillet et pour la première fois en France, la Fondation HCB expose les séries majeures de ce photographe, figure essentielle de la photographie japonaise du XXème siècle. Au premier étage de la Fondation, sera présentée la série Toshie-e (vers la ville).