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Fanning the Flames: Fandoms and Consumer Culture in Contemporary Japan
FANNING THE FLAMES Fans and Consumer Culture in Contemporary Japan Edited by William W. Kelly Fanning the Flames SUNY series in Japan in Transition Jerry Eades and Takeo Funabiki, editors Fanning the Flames Fans and Consumer Culture in Contemporary Japan EDITED BY WILLIAM W. K ELLY STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Fanning the f lames : fans and consumer culture in contemporary Japan / edited by William W. Kelly. p. cm. — (SUNY series in Japan in transition) Includes bibliographical references and index. ISBN 0-7914-6031-2 (alk. paper) — ISBN 0-7914-6032-0 (pbk. : alk.paper) 1. Popular culture—Japan—History—20th century. I. Kelly, William W. II. Series. DS822.5b. F36 2004 306'.0952'09049—dc22 2004041740 10987654321 Contents List of Illustrations vii Acknowledgments ix Introduction: Locating the Fans 1 William W. Kelly 1 B-Boys and B-Girls: Rap Fandom and Consumer Culture in Japan 17 Ian Condry 2 Letters from the Heart: Negotiating Fan–Star Relationships in Japanese Popular Music 41 Christine R. -
Stash 90 Features These Outstanding Projects
Stash 90 features these outstanding projects: AUDI "VAMPIRE PARTY" TVC :60 Agency: VENEBLES BELL & PARTNERS Director: MATTHJIS VAN HEIJNINGEN Production: MJZ VFX: THE MILL LA www.themill.com PLAYSTATION VITA "THE WORLD IS IN PLAY" TVC :60 Agency: 180 AMSTERDAM Director: CARY FUKUNAGA Production: INDEPENDENT VFX: MOVING PICTURE COMPANY www.moving-picture.com MERCEDES BENZ "THANKS, AIRBAG" TVC :45 Agency: JUNG VON MATT / ALSTER Director: LYNN FOX Production: BLINK PRODUCTIONS, TONY PETERSON FILM VFX: ELECTRIC THEATRE COLLECTIVE http://electrictheatre.tv RANGE ROVER "ACCELERATOR" TVC :60 Agency: RKCR/Y&R Director: JOHNNY GREEN Production: HUNGRYMAN VFX: THE MILL, GLASSWORKS www.themill.com www.glassworks.co.uk SHOCK TOP "END OF THE WORLD"
 TVC/viral :30 Client: ANHEUSER-BUSCH Agency: 72ANDSUNNY Director: MATT ASELTON Production: ARTS & SCIENCES VFX: A52 www.a52.com LEGGO'S "PASTA LOVES LEGGO'S" TVC :45 Client: LEGGO'S / SIMPLOT AUSTRALIA Agency: BMW MELBOURNE Director: BRUCE HUNT Production: REVOLVER Animation/VFX: FUEL VFX www.fuelvfx.com CLOVER "WAY BETTER" TVC :70 Agency: JOE PUBLIC Director: SHY THE SUN Production: CAB FILMS, TOP&TAIL, SHY THE SUN Animation: SHY THE SUN, BLACKGINGER www.shythesun.tv www.blackginger.tv UFC OPEN "EVOLUTION" Show open :60 Client: ZUFFA LLC Director: NEIL HUXLEY Production: MOTHERSHIP VFX: DIGITAL DOMAIN www.digitaldomain.com 360 Broadcast design :22, :1:11 Client: SPORT3, TV3 Directors: JAVIER GUTIERREZ, HUGO BASISM Animation/VFX: DIESTRO www.diestro.tv G4 GCYCLE "BATTERIES", "CELLPHONE" Viral/TVC -
Software Sequencers and Cyborg Singers
Edinburgh Research Explorer Software Sequencers and Cyborg Singers Citation for published version: Prior, N 2009, 'Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern', New Formations: A Journal of Culture, Theory, Politics, vol. 66, no. Spring, pp. 81-99. https://doi.org/10.3898/newf.66.06.2009 Digital Object Identifier (DOI): 10.3898/newf.66.06.2009 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: New Formations: A Journal of Culture, Theory, Politics Publisher Rights Statement: © Prior, N. (2009). Software Sequencers and Cyborg Singers: Popular Music in the Digital Hypermodern. New Formations, 66(Spring), 81-99 doi: 10.3898/newf.66.06.2009. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 SOFTWARE SEQUENCERS AND CYBORG SINGERS: POPULAR MUSIC IN THE DIGITAL HYPERMODERN Nick Prior It has been almost twenty years since Andrew Goodwin’s classic essay, ‘Sample and Hold’, claimed that pop music had entered a new phase of digital reproduction.1 If the digital sampler was postmodernism’s musical engine, then hip hop was its recombinant form, and the erosion of divisions between original and copy the celebrated consequence. -
V for Vendetta’: Book and Film
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS DEPARTAMENTO DE ESTUDOS ANGLÍSTICOS “9 into 7” Considerations on ‘V for Vendetta’: Book and Film. Luís Silveiro MESTRADO EM ESTUDOS INGLESES E AMERICANOS (Estudos Norte-Americanos: Cinema e Literatura) 2010 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS DEPARTAMENTO DE ESTUDOS ANGLÍSTICOS “9 into 7” Considerations on ‘V for Vendetta’: Book and Film. Luís Silveiro Dissertação orientada por Doutora Teresa Cid MESTRADO EM ESTUDOS INGLESES E AMERICANOS (Estudos Norte-Americanos: Cinema e Literatura) 2010 Abstract The current work seeks to contrast the book version of Alan Moore and David Lloyd‟s V for Vendetta (1981-1988) with its cinematic counterpart produced by the Wachowski brothers and directed by James McTeigue (2005). This dissertation looks at these two forms of the same enunciation and attempts to analise them both as cultural artifacts that belong to a specific time and place and as pseudo-political manifestos which extemporize to form a plethora of alternative actions and reactions. Whilst the former was written/drawn during the Thatcher years, the film adaptation has claimed the work as a herald for an alternative viewpoint thus pitting the original intent of the book with the sociological events of post 9/11 United States. Taking the original text as a basis for contrast, I have relied also on Professor James Keller‟s work V for Vendetta as Cultural Pastiche with which to enunciate what I consider to be lacunae in the film interpretation and to understand the reasons for the alterations undertaken from the book to the screen version. An attempt has also been made to correlate Alan Moore‟s original influences into the medium of a film made with a completely different political and cultural agenda. -
Download the Expanded Digital Edition Here
Spring 1999 December 2002 April 2002 February 2003 May 2003 September 2003 November 2003 October 2004 March 2005 October 2003 November 2007 August 2009 July 2010 April 2012 September 2012 September 2010 April 2011 June 2012 June 2012 November 2012 November 2012 November 2012 January 2013 January 2013 January 2013 I created The Rainbow Orchid because making comics is such hard work that I wanted to write and draw one that I could be absolutely certain at least one person would really like – that person being me. It is steeped in all the things I love. From the adventure stories of H. Rider Haggard, Jules Verne and Arthur Conan Doyle I took the long build-up to a fantastic element, made all the more amazing because the characters are immersed in the ‘real world’ for so much of the story. From the comics medium I dipped my pen into the European tradition of Hergé, Edgar P. Jacobs, Yves Chaland and the descendents of their ligne claire legacy, along with the strong sense of environment – a believable world – from Asterix and Tintin. Yet I wanted characters and a setting that were very strongly British, without being patriotic. Mixed into all this is my fondness for an involving and compelling plot, and artistic influences absorbed from a wealth of comic artists and illustrators, from Kay Neilsen to Bryan Talbot, and a simple love of history and adventure. No zombies, no bikini-clad gun-toting nubiles, and no teeth-gritting ... grittiness. Just a huge slice of pure adventure, made to go with a big mug of tea. -
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225 -
DARE CREATE SUCCEED Share a Little Every Day, and Get Discovered Page 38
ISSUE 4 NOVEMBER 2018 DARE CREATE SUCCEED Share a little every day, and get discovered Page 38 SPOTLIGHT ON THE WHAT HAS EDUCATION JUNIOR WARDEN AND OUTREACH BEEN UP - JUDY HADDEN TO? Page 43 Page 8 & 9 PROMOTING EXCELLENCE THIS ISSUE INTRODUCTION The Master with (L-R) sister Liz Brannan, wife Alison, and mother Elizabeth (Jean) FROM THE MASTER Welcome to the latest edition of the Guild of Entrepreneurs’ Annual Magazine: Dare, Create, Succeed. It is growing in size and content with every edition just as our activities and opportunities to come together and to share our expertise and enthusiasm as entrepreneurs grow. Showcased inside are just a few of our many activities and interactions during the year and they are as interesting as they are diverse. The Committee Chairs and Freemen are to be congratulated on their commitment to assisting Page Freeman profile - Judith Donovan CBE 28 others understand how to dare, create and Introduction from The Master 3 Church News 29 succeed. From Education and Outreach, to Membership, to Events and PRIME and all the November 23rd 2017 - Installation and Dinner 4 - 5 Master’s Weekend 30 others, our committees form the backbone of what we are able to achieve together. Welcome to New Freemen 6 - 7 From Soldier to Entrepreneur 31 Outreach Work 8 - 9 Grenfell Update 32 From our first awards from our Trust, to mentoring students and young entrepreneurs, to LORD MAYOR’S INTRODUCTION Education 10 - 12 In the Seat: Johnny Manning 32 a move to Drapers’ Hall as our new home and a hugely successful Master’s Weekend we really Social Events 13 - 14 Recipe: Gregg Wallace 33 I am delighted to have been asked to write this foreword to this edition of your Guild magazine. -
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 60th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2016 through September 30, 2017 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, and/or Mixer(s) and mastering engineer(s), if other than the artist. Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist. 1. REDBONE Childish Gambino 1. "AWAKEN, MY LOVE!" Childish Gambino Donald Glover & Ludwig Goransson, producers; Donald Donald Glover & Ludwig Goransson, producers; Bryan Carrigan, Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, Chris Fogel, Donald Glover, Ludwig Goransson, Riley Mackin & engineers/mixers; Bernie Grundman, mastering engineer Ruben Rivera, engineers/mixers; Donald Glover & Ludwig 2. DESPACITO Goransson, songwriters; Bernie Grundman, mastering engineer Luis Fonsi & Daddy Yankee Featuring Justin Bieber 2. 4:44 Josh Gudwin, Mauricio Rengifo & Andrés Torres, JAY-Z producers; Josh Gudwin, Jaycen Joshua, Chris ‘TEK’ JAY-Z & No I.D., producers; Jimmy Douglass & Gimel "Young O’Ryan, Mauricio Rengifo, Juan G Rivera “Gaby Music,” Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, Luis “Salda” Saldarriaga & Andrés Torres, songwriters; Dave Kutch, mastering engineer engineers/mixers; Dave Kutch, mastering engineer 3. -
The Serious Side of Monkey Business Damon Albarn Happily Admits That He Is Not the Master of His New Opera, Finds John Lewis
Times May 25, 2007 The serious side of monkey business Damon Albarn happily admits that he is not the master of his new opera, finds John Lewis We’re in a converted factory in a south-west suburb of Paris, where the rehearsals for Monkey: Journey to the West resemble a medieval carnival. The building is swarming with acrobats and martial artists, casually spending their down time uni-cycling, juggling, sword-fighting, plate- spinning and walking around on their hands. Wandering amid this Bacchanalian scene is the opera’s composer, Damon Albarn, occasionally shouting out suggestions as to how the young cast should be singing. In another room, the impish figure of Jamie Hewlett – the cartoonist behind Gorillaz and the opera’s designer – is watching a beefy Chinese acrobat having his head taped over and his face covered in plaster as he is fitted with a huge, cartoonish latex Pigsy mask. But the calm at the centre of this storm is the opera’s director, Chen Shi- Zheng, a long-haired, soft-voiced figure dressed in black, who presides over the 17 performers as they rehearse the opening scene. As Albarn’s strident oriental funk score blasts out from the PA, the cast come out from the wings. They are playing a tribe of monkeys, leaping around on all fours, shinning up huge poles, banging their chests and picking imaginary bugs off their heads as they whoop and grunt ecstatically. “Don’t be afraid to look foolish,” says Chen in Mandarin. “Use every part of your bodies and keep screaming.” Although Monkey: Journey to the West is touted as Albarn’s work – and his quirky music and Hewlett’s manga-style designs certainly brand it as a Gorillaz event – it is Chen who is, in Albarn’s words, “the master”. -
Dark Night of the Soul
Danger Mouse And Sparklehorse - Dark Night Of The Soul Uncut has reviewed plenty of obscure albums in its time but this may be a first: an album that doesn’t officially exist. As a result of some undisclosed contractual snafu, EMI put the mockers on Dark Night Of The Soul just as it was being readied for release. Undeterred, Danger Mouse pressed ahead anyway, offering Dark Night… as a limited edition photo book featuring David Lynch ’s “visual narrative” for the project, accompanied by a blank, recordable CD and the not-so-cryptic instruction to “use it as you will”. Though careful not to say as much, Danger Mouse was essentially encouraging us to bootleg his own LP, which by this point had mysteriously surfaced on file-sharing networks. Danger Mouse has form in this area, of course. The Grey Album , his inventive mash-up of Jay-Z and The Beatles , also aroused the wrath of EMI, who held the rights to The White Album . It made his reputation, if not his fortune, so he knows the value of peer-to-peer propaganda. On the other hand, Danger Mouse’s clever feint here may just have succeeded in adding a layer of intrigue to a project which, despite its impressive cast list, is not as fascinating as its creators probably hoped. Take Gorillaz ’s Demon Days, substitute Sparklehorse ’s Mark Linkous for Damon Albarn , and David Lynch ’s murky snapshots of sinister smalltown America for Jamie Hewlett ’s anarchic cartoons, and you’ve got the basic idea of Dark Night… There are some big-name cameos – Iggy Pop , Frank Black , a surprisingly compelling Suzanne Vega – but it’s questionable whether a collaborative free-for-all was the best way to approach a concept album about loss of faith; dark nights of the soul, by their very nature, usually demand to be suffered in isolation. -
A Madison Wisconsin Story
EAST MEETS WEST IN MADISON: CHINESE SOPRANO POP STAR RUHAN JIA AND NEW YORK BASED ROCK BAND, EDISUN WILL PERFORM TO PROMOTE CROSS-CULTURAL COLLABORATION, MUSICAL ARTISTRY, AND INNOVATIVE TECHNOLOGY. A Madison Wisconsin Story Edisun front man, Ethan Isaac grew up in Madison, attending James Madison Memorial High School. While in high school, his first recording was with Butch Vig (producer of nirvana sonic youth smashing pumpkins, and foo fighters) at the legendary Smart Studios. Playing in various bands on the Madison music scene he often played at the once popular clubs O’caz Corral and Club de Wash. He later moved his band, Wooden, that formed in Madison Wisconsin, to NYC. They were to get involved in a much larger music market, playing clubs like CBGB’s, Irving Plaza, The Continental, and the like. After years of success in the New York music scene, with his band, Wooden, Ethan found himself in the west village, NYC, on September 11th watching the attack on the Trade Towers. Heeding the word to evacuate the NYC area, Ethan managed to escape in his truck, while moving barricades, and maneuvering through chaotic, NYC law enforced streets…. eventually he made his way to the parkway, where he reached his cabin in the Catskills. Moved by the incredible effects, and magnitude of the tragedy, Ethan wrote a song called “Into the Sunlight” which lyrically reflects his experiences on 9/11. This would change his music career dramatically. His story, and song gets national press. And is discovered by the U.S. Armed Forces Entertainment Division (AFE). -
Read Jamie Hewlett
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