DOCSLIB.ORG

Anime: a History Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anime: a History Free FREE ANIME: A HISTORY PDF Jonathan Clements | 256 pages | 12 Dec 2013 | British Film Institute | 9781844573905 | English | London, United Kingdom Anime: A History by Jonathan Clements, Paperback | Barnes & Noble® This post may contain affiliate links. Read the full disclosure here. In the world, Anime: A History is recreated from all kinds Anime: A History visions and perspectives: Anime: A History, music, writing, composition, web, etc. As well as it has all kinds of forms, there are also disciplines that Anime: A History to unify all these movements in a single and harmonic representation. Anime is in short Japanese animation. However, unlike American comics and animation, it has completely different bases, objectives, and audience. Anime is an expression of art, which by tradition is drawn by hand, but now in the era of technology are made in various design programs. The Japanese Ministry of Education officially recognized anime as an art form and is considered one of the most important forms of artistic expression in modern Japanese culture. Nowadays, they are an essential part of the publishing market in Japan and have been adapted in several formats such as animation series, movies, and even video games. Manga originated way before Dragon Ball Z, Sailor Anime: A History, or any other well-known anime and Anime: A History series. This took place somewhere between AD. InJapan Punch was born and their Anime: A History magazine already showed signs of a new more cartoony style. Probably the biggest development in manga and anime art came from the hands and visions of Osamu Tezuka, the father of Astro Boy. Anime art began as such around in the land of the Anime: A History sun. Unlike the American comic, which dates back to the s. It happens after the Second World War, where Japan is exposed to a new Western culture that it is beginning to adopt. It is of the first epoch The 70s of the anime that arises the first series that initiate this tour along with the world, Centella, Macross, Mazinger, Candy Candy, etc. With so many new trends, many pioneers start to collect ideas from the new American animation. Disney think of Bambi and Warner, the two great American animation schools, feed this trend combined with traditional Japanese Manga, which Anime: A History just the name given to comics Manga in Japanese is something like continuous drawings. Anime is a word of French origin that means animated or aliveand that the Japanese adopted in their language since to refer to cartoons on television. The characters are faithful to the genre they represent, for example, a romantic anime would be excessively tender and sweet, while a gore anime would have an excess of Anime: A History and violence. American animation Anime: A History tradition is simple; they created their own rules, such as the camera was static, the characters did not change the scenery, or it was Anime: A History simple continuous scenery that moved while the characters remained static. With anime, the revolution began. They began to experience the camera moving, discovering details of the characters, or moving away from the object, revealing something new to the viewer. Because anime emerged in a situation of poverty, producers had to find new techniques like Anime: A History to make the process cheaper without losing the quality in the final result. Between the s and s, the anime of robots mecha became popular, appearing in iconic series such as Tetsujin go and Mazinger Z or Gundam. During this same period, the popular series Doraemon began to be broadcast, based Anime: A History the homonymous anime by Fujiko Fujio, a series that tells the story of a cosmic robot cat that has a bag attached to its body from Anime: A History it removes various artifacts which Anime: A History used in the adventures of Doraemon and his human friend Nobita. In the s and s, Japanese animation entered an international boom, which led to many series beginning to be dubbed into English and Spanish. In the anime already were massified in great measure by the acceptance and the enormous base of fans that had acquired by then. Since then there have been numerous animated productions that have been distributed around the world, among the highlights of the new millennium are One Piece, Naruto, Bleach, Fullmetal Alchemist, Inuyasha, Yu-Gi-Oh, Rozen Maiden, Kuroshitsuji, and Death Note, all based on mangas that when they became successful, allowed the development of the animated series. Nowadays, any manga that has many followers is very likely to have been adapted into an animated series, as was the case with Hunter x Hunter, Pandora Hearts, Ao no Exorcist, Mirai Nikki, Bakuman, and Shingeki no Kyojin, among many others. Anime is a type of animation that originated in Japan. It was born by creating moving images through various techniques. The traditional animation is based on a two-dimensional view, to that is added the handmade drawing and is composed of background and characters. The art of anime is something very special. People are used to American cartoons, in which the plots are simple, the characters always show the same side of their personality, their conflicts are easily resolved in a half-hour Anime: A History, and, most importantly, they are almost Anime: A History aimed at children. Anime, unlike traditional anime from the United Statesis not only intended for children ; even those intended for children tend to be less simplistic than their New World counterparts. For example, cartoons tend to avoid death Anime: A History other realities of everyday life, whereas anime tends to be more of a part of it. Thus, we can see a wide variety of styles comparable only to the cinema itself; like the cinema, we see all kinds of material that may or may not please us all, but surely there are samples that will definitely delight us. Thus, each character, whether heroes or villains, have feelings, aspirations, virtues, defects, and a life they can lose. There are other sources Anime: A History inspiration that include Anime: A History mythology, Nordic mythology, history, classical works, among others. Anime: A History, the market for anime in your home country is immense. What reaches other continents is only a small part of the total. This, to a certain extent, is good, because it allows for a systematic selection of good titles in most cases. Many series present their characters in everyday situations of the Japanese lifestyle: people at their workplace, at school, in traditional Japanese rituals. Anything can happen in anime. Another point of difference in style. It is common, for example, to see big eyes and hair in the characters. But even music and special effects have to use a characteristic style, which more than decorates, complement as a whole Anime: A History animation. Art is a discipline that is based on the materialization of emotions, objects, and real-world environments, seeking this, and above all, beauty. This recreation of the world that surrounds the author must express a message, idea, feeling, or worldview pragmatic, and once they are transmitted Anime: A History other people, they fulfill the function of enriching their personality. Anime is Anime: A History successful form of expression, narration and cinematography thanks to its excellent diversity of themes, deep handling of the characters, and quality of animation. Therefore, more intense stories are created that attracts the Anime: A History, mind, and heart, Anime: A History a message, and creating artistic magic so peculiar, addictive and deep that it has earned the affection of millions of people in the world. It is characterized by extremely violent and bloody content. It has features of the ecchi or hentai, which makes them more striking and is aimed at adult audiences. These become more interesting when they are created with styles that transmit feelings of intrigue, black comedy, romance, among others. It refers to the animes with sports content, highlighting values such as companionship, physical and mental effort, friendship as well as competition and Anime: A History. This produces in the spectators, the emotion of wanting to belong to a sports club and those who already belong to one feel identified. It is mostly set in school life and is accompanied by both realistic elements such Anime: A History fantasy and the supernatural. These are not usually common, they can be found for different types of audiences. It has great stories that have touches of intrigue or mystery. It is used to designate anime with stories of a police nature. This genre is commonly situated in science fiction. The term refers to mechanical. In other words, a fuse is a robot that possesses different characteristics such as giant size, powerful weapons, and is designed for military use mostly. It is aimed at women and girls, contains entanglements, comedy, love conflicts Anime: A History the characters are usually teenagers. It focuses on topics such as friendship and courtship, i. In this one, most of the characters possess magical powers in order to protect something. They mostly involve both social and school life, with priority given to the main characters who are girls or female adolescents. It is a variation of shojo, as it preserves comedy and romance. It is presented to an adult audience, not because it has sexual content, but because it refers to dramatic images. The story focuses on a female character who may originally be an alien, angel, demon, god or robot. She forms a relationship with the human being either of love or friendship. It refers to manga and anime aimed at a female audience.
Load more

Recommended publications
  • Reallusion Premieres Iclone 1.52 - New Technology for Independent Machinima
    For Immediate Release Reallusion Premieres iClone 1.52 - New Technology for Independent Machinima New York City - November 1st, 2006 – Reallusion, official Academy of Machinima Arts and Sciences’ Machinima Festival partner hits the red carpet with the iClone powered Best Visual Design nominee, “Reich and Roll”, an iClone film festival feature created by Scintilla Films, Italy. iClone™ is the 3D real-time filmmaking engine featuring complete tools for character animation, scene building, and movie directing. Leap from brainstorm to screen with advanced animation and visual effects for 3D characters, animated short-films, Machinima, or simulated training. The technology of storytelling evolves with iClone. Real-time visual effects, character interaction, and cameras all animate in with vivid quality providing storytellers instant visualization into their world. Stefano Di Carli, Director of ‘Reich and Roll’ says, “Each day I find new tricks in iClone. It's really an incredible new way of filmmaking. So Reallusion is not just hypin' a product. What you promise on the site is true. You can do movies!” Machinima is a rising genre in independent filmmaking providing storytellers with technology to bring their films to screen excluding high production costs or additional studio staff. iClone launches independent filmmakers and studios alike into a production power pack of animation tools designed to simplify character creation, facial animation, and scene production for 3D films. “iClone Independent filmmakers can commercially produce Machinima guaranteeing that the movies you make are the movies you own and may distribute or sell,” said John Martin II, Director of Product Marketing of Reallusion. “iClone’s freedom for filmmakers who desire to own and market their films supports the new real-time independent filmmaking spirit and the rise of directors who seek new technologies for the future of film.” iClone Studio 1.52 sets the stage delivering accessible directing tools to develop and debut films with speed.
    [Show full text]
  • Facial Animation: Overview and Some Recent Papers
    Facial animation: overview and some recent papers Benjamin Schroeder January 25, 2008 Outline Iʼll start with an overview of facial animation and its history; along the way Iʼll discuss some common approaches. After that Iʼll talk about some notable recent papers and finally offer a few thoughts about the future. 1 Defining the problem 2 Historical highlights 3 Some recent papers 4 Thoughts on the future Defining the problem Weʼll take facial animation to be the process of turning a characterʼs speech and emotional state into facial poses and motion. (This might extend to motion of the whole head.) Included here is the problem of modeling the form and articulation of an expressive head. There are some related topics that we wonʼt consider today. Autonomous characters require behavioral models to determine what they might feel or say. Hand and body gestures are often used alongside facial animation. Faithful animation of hair and rendering of skin can greatly enhance the animation of a face. Defining the problem This is a tightly defined problem, but solving it is difficult. We are intimately aware of how human faces should look, and sensitive to subtleties in the form and motion. Lip and mouth shapes donʼt correspond to individual sounds, but are context-dependent. These are further affected by the emotions of the speaker and by the language being spoken. Many different parts of the face and head work together to convey meaning. Facial anatomy is both structurally and physically complex: there are many layers of different kinds of material (skin, fat, muscle, bones). Defining the problem Here are some sub-questions to consider.
    [Show full text]
  • 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.
    [Show full text]
  • Representations and Reality: Defining the Ongoing Relationship Between Anime and Otaku Cultures By: Priscilla Pham
    Representations and Reality: Defining the Ongoing Relationship between Anime and Otaku Cultures By: Priscilla Pham Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Toronto, Ontario, Canada, April 2021 © Priscilla Pham, 2021 Abstract This major research paper investigates the ongoing relationship between anime and otaku culture through four case studies; each study considers a single situation that demonstrates how this relationship changes through different interactions with representation. The first case study considers the early transmedia interventions that began to engage fans. The second uses Takashi Murakami’s theory of Superflat to connect the origins of the otaku with the interactions otaku have with representation. The third examines the shifting role of the otaku from that of consumer to producer by means of engagement with the hierarchies of perception, multiple identities, and displays of sexualities in the production of fan-created works. The final case study reflects on the 2.5D phenomenon, through which 2D representations are brought to 3D environments. Together, these case studies reveal the drivers of the otaku evolution and that the anime–otaku relationship exists on a spectrum that teeters between reality and representation. i Acknowledgements I would like to express my deepest gratitude to my primary advisor, Ala Roushan, for her continued support and confidence in my writing throughout this paper’s development. Her constructive advice, constant guidance, and critical insights helped me form this paper. Thank you to Dr. David McIntosh, my secondary reader, for his knowledge on anime and the otaku world, which allowed me to change my perspective of a world that I am constantly lost in.
    [Show full text]
  • (Revised0507)JAPAN BOOTH 2013 Cannes FIX
    CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships.
    [Show full text]
  • First Words: the Birth of Sound Cinema
    First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints.
    [Show full text]
  • … … Mushi Production
    1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.
    [Show full text]
  • Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation
    ACM SIGGRAPH 97 Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation ABSTRACT Video Rewrite automatically pieces together from old footage a new video that shows an actor mouthing a new utterance. The Video Rewrite uses existing footage to create automatically new results are similar to labor-intensive special effects in Forest video of a person mouthing words that she did not speak in the Gump. These effects are successful because they start from actual original footage. This technique is useful in movie dubbing, for film footage and modify it to match the new speech. Modifying example, where the movie sequence can be modified to sync the and reassembling such footage in a smart way and synchronizing it actors’ lip motions to the new soundtrack. to the new sound track leads to final footage of realistic quality. Video Rewrite automatically labels the phonemes in the train- Video Rewrite uses a similar approach but does not require labor- ing data and in the new audio track. Video Rewrite reorders the intensive interaction. mouth images in the training footage to match the phoneme Our approach allows Video Rewrite to learn from example sequence of the new audio track. When particular phonemes are footage how a person’s face changes during speech. We learn what unavailable in the training footage, Video Rewrite selects the clos- a person’s mouth looks like from a video of that person speaking est approximations. The resulting sequence of mouth images is normally. We capture the dynamics and idiosyncrasies of her artic- stitched into the background footage.
    [Show full text]
  • Hayao Miyazaki and His Anime Movies
    Hayao Miyazaki And His Anime Movies Radin-Mačukat, Lucija Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:982522 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-30 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Lucija Radin-Mačukat Hayao Miyazaki And His Anime Movies Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Hayao Miyazaki And His Anime Movies Završni rad Student/ica: Mentor/ica: Lucija Radin-Mačukat Dr.sc. Mario Vrbančić Zadar, 2018. Izjava o akademskoj čestitosti Ja, Lucija Radin-Mačukat, ovime izjavljujem da je moj završni rad pod naslovom Hayao Miyazaki And His Anime Movies rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 2018. Radin – Mačukat 4 Table of contents: 1. Introduction ………………………………………………………………………………..7 2. What is anime? ………………………………………………………………………….....8 3. Anime genres ……………………………………………………………………………...12 3.1. Action ………………………………………………………………………………….12 3.2. Adventure ……………………………………………………………………………...12 3.3.
    [Show full text]
  • FILM-GOING in the SILENT ERA Elizabeth Ezra in The
    THE CINEMISING PROCESS: FILM-GOING IN THE SILENT ERA Elizabeth Ezra In the Surrealist text Nadja, published in 1928, André Breton reminisces about going to the cinema in the days ‘when, with Jacques Vaché we would settle down to dinner in the orchestra of [the cinema in] the former Théâtre des Folies- Dramatiques, opening cans, slicing bread, uncorking bottles, and talking in ordinary tones, as if around a table, to the great amazement of the spectators, who dared not say a word’ (Breton 1960 [1928]: 37). When Breton recalled these youthful antics, which had probably taken place in the late teens or early twenties, he characterized them as ‘a question of going beyond the bounds of what is “allowed,” which, in the cinema as nowhere else, prepared me to invite in the “forbidden” (Breton 1951; original emphasis). Breton’s remarks beg the following questions. How did such behaviour in a cinema come to be considered transgressive? How did the structures emerge that made it a transgressive act to speak or eat a meal in the cinema, to reject, in other words, the narrative absorption that had become a standard feature of the filmgoing experience? The conventions that gave meaning to such forms of transgression emerged over the course of the silent era in what may be called, to adapt Norbert Elias’s term, ‘the cinemizing process’ (1994). The earliest historians of cinema already relied heavily on a rhetoric of lost innocence (witness the multiple accounts of the first cinema-goers cowering under their seats in front of the Lumière brothers’ film of a train pulling into a station); the cinemizing process thus presupposes a ‘golden age’ of naive, uninitiated spectatorship followed by 2 an evolution of audiences into worldy-wise creatures of habit.
    [Show full text]
  • Fran09a-Folder.Qxp:Layout 1
    Vad är anime? Några genrer/ingredienser Vill du veta mer? Vanliga japanska uttryck Här är några bra webbadresser: Anime är den japanska kortformen av ”anime- bishoujo = vacker flicka (”M. K. Rayearth”) - www.animenewsnetwork.com ohayou (gozaimasu)! = godmorgon! eshon” (dvs animation). I Japan används ordet bishounen = vacker pojke (”Cardcaptor Saku- (har ett stort uppslagsverk, TV-sändningar och konnichi wa! = goddag! om animation från alla länder. Utanför Japan ra”) massor av nyheter) konbanwa! = godkväll! betyder det ”animation från Japan”. ecchi = sexuellt opassande (”Love Hina”) - www.anime-planet.com/animerec oyasumi (nasai)! = godnatt! Japan är ett ”asiatiskt västerland”, med en hentai = konstig, pervers (i västerlandet om (ger tips på mer av sånt du tycker om) arigatou! = tack! (yokatta! = gudskelov!) kultur där urgamla traditioner och hypermoder- pornografisk anime/manga) - www.nausicaa.net gomen (nasai)! = ursäkta! na trender samsas. Vilket bl a gett upphov till josei – riktad till unga kvinnor (”NANA”) (mest fakta om Studio Ghibli) demo... = men... (anou... = alltså...) en vurm för tecknade serier (manga) som spri- kodomo – riktad till barn (”Panda Go Panda!”) - www.animanga.nu nani? = vad? (dou shite? = varför?) dits till alla genrer, åldrar och skikt i samhället. meka = superrobot (”N. G. Evangelion”) (största samlingspunkten i Sverige) baka! = idiot! Och vad gäller anime, så fyller den hälften av moe – tydligt söta figurer (”Strawberry - www.hikari-kai.se betsu ni! = inte alls! programutrymmet på TV och mången biosa- Marshmallow”)
    [Show full text]
  • Exploitation and Social Reproduction in the Japanese Animation Industry
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2018 Exploitation and Social Reproduction in the Japanese Animation Industry James Garrett California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Asian Studies Commons, Behavioral Economics Commons, Labor Economics Commons, Labor History Commons, and the Other History Commons Recommended Citation Garrett, James, "Exploitation and Social Reproduction in the Japanese Animation Industry" (2018). Capstone Projects and Master's Theses. 329. https://digitalcommons.csumb.edu/caps_thes_all/329 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Exploitation and Social Reproduction in the Japanese Animation Industry James Garrett Senior Capstone School of Social, Behavior & Global Studies: Global Studies Major Capstone Advisors: Ajit Abraham & Richard Harris 1 Acknowledgements I would like to thank the Global Studies department and faculty of California State University, Monterey Bay, for the dedication of their pursuit of understanding and acknowledging the complexities of global changes and shifts through an interdisciplinary curriculum. In particular, I would like to thank Dr. Angie Tran and Dr. Robina Bhatti for helping me to develop a more complex understanding of advanced capitalist societies and the place of labor within those societies. I would also like to thank Dr.
    [Show full text]