Anime/Manga/Otaku (32280) Spring 2020
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Anime's Apocalypse: Neon Genesis Evangelion As Millennarian Mecha
Anime's Apocalypse: Neon Genesis Evangelion as Millennarian Mecha review essay by Mick Broderick Introduction: 1. From its startling opening credit sequence the 26-episode TV anime series Neon Genesis Evangelion (NGE), which first aired in October 1995 through to March 1996, foregrounds its overtly apocalyptic trajectory and postmodern form. For many the series remains at the zenith of Japanese television animation and it is unlikely to be surpassed any time soon due to its staggeringly complex detail and textuality; its allegory, characterisation and design. 2. Of interest here is how the program melds the sensibilities of post-war modern Japan with a post- holocaust, science fiction future.[1] It combines ideas/ideals of catastrophe, myth, mecha, agency, spectacle, kinesis, chaos and montage with a ubiquitous sense of imminence, solitude, quiescence, introspection, prophecy, teleology and predeterminism. 3. It is hardly credible to do justice to the Neon Genesis Evangelion project, designed to broadcast its cumulative ten-and-a-half hours of animation across a half-year of screen programming, in the few pages of analysis allotted here. Hence, my focus is on privileging some of the more enigmatic and subtextual lines of narrative which broach the series' concerns with the apocalyptic and its multifaceted, cross-cultural manifestations. Series Summary: 4. Neon Genesis Evangelion takes place, according to its creator, Anno Hideaki, along the following schema: The year: 2015 A world where, fifteen years before, over half the human population perished. A world that has been miraculously revived: its economy, the production, circulation, consumption of material goods, so that even the shelves of convenience stores are filled. -
The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney Jennifer M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2009 The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney Jennifer M. Stockins University of Wollongong Recommended Citation Stockins, Jennifer M., The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney, Master of Arts - Research thesis, University of Wollongong. School of Art and Design, University of Wollongong, 2009. http://ro.uow.edu.au/ theses/3164 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney A thesis submitted in partial fulfillment of the requirements for the award of the degree Master of Arts - Research (MA-Res) UNIVERSITY OF WOLLONGONG Jennifer M. Stockins, BCA (Hons) Faculty of Creative Arts, School of Art and Design 2009 ii Stockins Statement of Declaration I certify that this thesis has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Jennifer M. Stockins iii Stockins Abstract Manga (Japanese comic books), Anime (Japanese animation) and Superflat (the contemporary art by movement created Takashi Murakami) all share a common ancestry in the woodblock prints of the Edo period, which were once mass-produced as a form of entertainment. -
Performing and Contextualising the Late Piano Works of Akira Miyoshi: a Portfolio of Recorded Performances and Exegesis
Performing and contextualising the late piano works of Akira Miyoshi: a portfolio of recorded performances and exegesis Tomoe Kawabata Portfolio of recorded performances and exegesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy ...... Elder Conservatorium of Music Faculty of Arts The University of Adelaide May 2016 Table of Contents Abstract iv Declaration v Acknowledgements vi Format of the Submission vii List of Musical Examples viii List of Tables and Graphs xii Part A: Sound Recordings Contents of CD 1 2 Contents of CD 2 3 Contents of CD 3 4 Contents of CD 4 5 Part B: Exegesis Introduction 7 Chapter 1 Background, formal structure and musical elements 35 1.1 Miyoshi’s compositional approach for solo piano in his early years 35 1.2 Miyoshi’s late works 44 Chapter 2 Understanding Miyoshi’s treatment of musical elements 69 2.1 Tempo shifts 69 2.2 Phrasing and rhythmic techniques 79 2.3 Dynamic shifts and the unification of musical elements 86 Chapter 3 Dramatic shaping of En Vers 92 3.1 Opening tempo 92 3.2 Phrase length 93 3.3 Quickening of tempo 94 3.4 Melody 94 ϯ͘ϱZŚLJƚŚŵŝĐƐĞŶƐĞϵϱ ϯ͘ϲdŚĞĞŶƚƌĂŶĐĞŽĨůŽƵĚĚLJŶĂŵŝĐƐϵϱ ϯ͘ϳdĞŵƉŽĂŶĚƌŚLJƚŚŵŝŶĐůŝŵĂĐƚŝĐƐĞĐƚŝŽŶƐϵϲ ϯ͘ϴdĞŵƉŽŽĨƚŚĞƌĞƉƌŝƐĞϵϲ ϯ͘ϵ^ŚŽƌƚĞŶŝŶŐŽĨƉŚƌĂƐĞƐϵϳ ŽŶĐůƵƐŝŽŶ ϵϴ >ŝƐƚŽĨ^ŽƵƌĐĞƐ ͗DƵƐŝĐĂůƐĐŽƌĞƐϭϬϯ ͗ŝƐĐŽŐƌĂƉŚLJϭϬϲ ͗ŝďůŝŽŐƌĂƉŚLJϭϬϵ NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. The CDs must be listened to in the Music Library. Abstract While the music of Japanese composer Akira Miyoshi (1933-2013) has become well- known within Japanese musical circles in the past 20 years, it has yet to achieve international recognition. -
The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967. -
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen. -
Manga Book Club Handbook
MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed. -
Eureka Discovers Culture Girls, Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary Magazine, Yuriika (Eureka)[1]
9/3/2015 Intersections: Eureka Discovers 'Culture Girls,' Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary magazine, Yuriika (Eureka) Intersections: Gender and Sexuality in Asia and the Pacific Issue 20, April 2009 Eureka Discovers Culture Girls, Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary magazine, Yuriika (Eureka)[1] Tomoko Aoyama Bunkakei joshi katarogu (Culture Girls' Fujoshi manga taikei (Fujoshi manga BL (Bōizu rabu) sutadiizu (BL [Boys catalogue, November 2005) compendium, June 2007 Love] studies, December 2007 ISBN: 4791701402 supplementary issue) supplementary issue) ISBN: 9784791701636 ISBN: 9784791701728 1. Eureka (or Yuriika) is a mainstream Japanese literary magazine specialising in poetry and criticism. Established by Date Tokuo (1920–61) in 1956, the magazine has played a very important role for decades, introducing cutting edge Western art and literary theories and recognising new texts and talents as well as rediscovering the old. With a few exceptions such as a 1981 issue on girls' comics,[2] however, the magazine has rarely dealt with women writers and artists—until relatively recently. Given this general background, the November 2005 Culture Girls issue has a special historical significance. 2. The issue quickly sold out and the term bunkakei joshi (used broadly for young(ish) women culture vultures, intellectuals, writers, artists, and fans)[3] gained some currency in popular media. From this issue onwards Eureka has paid much more attention than before to a wide range of 'Culture Girls' favourite topics, artists, and genres. The January 2006 Forefront of Manga Criticism issue, for example, included slightly more input from women commentators than the August 2005 supplementary issue Otaku vs SubCul[ture].[4] Other topics featured in 2006 included singer Madonna (March), female manga artist Saibara Rieko (July), and women film directors (December). -
An Examination of Otaku Masculinity in Japan
!"#$%&'($)*&+',-(&.#(&/'(&0'"&(/#&(/"##1+23#,42',$%5!& $,$32,$(2',&'0&'($)*&3$47*%2,2(8&2,&9$:$,& & & $&(/#424& :;<=<>?<@&?A& (B<&0CDEF?G&AH&?B<&+<IC;?J<>?&AH&$=KC>&4?E@K<=& 7AFA;C@A&7AFF<L<& & & & 2>&:C;?KCF&0EFHKFFJ<>?&AH&?B<&"<MEK;<J<>?=&HA;&?B<&+<L;<<& NCDB<FA;&AH&$;?=& & NG&& N<>OCJK>&)K<PFCP& 3CG&QRST& & & & '>&JG&BA>A;5&25&N<>OCJK>&)K<PFCP5&BCU<&>A?&;<D<KU<@&C>G&E>CE?BA;KV<@& C==K=?C>D<&A>&?BK=&?B<=K=W&2&BCU<&HEFFG&EIB<F@&?B<&/','"&7'+#&AH&7AFA;C@A& 7AFF<L<W&& & & & & & & & XXXXXXXXXXXXXXXXXXXXXXX& & N#,9$32,&)2#)%$)& & & & & & & & Q& & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & ^& & ($N%#&'0&7',(#,(4& & & /A>A;&7A@<WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWQ& & "<C@<;`=&$II;AUCFWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWY& & (C\F<&AH&7A>?<>?=&WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW_& & (C\F<=WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWa& & 2>?;A@ED?KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWb& & 7BCI?<;&S]&/K=?A;KDCF&7A>?<c?WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWSQ& & 7BCI?<;&Q]&'?CPE&K>&?B<&:;<=<>?&+CGWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWQQ& & 7BCI?<;&Y]&3C=DEFK>K?G&K>&9CIC>]&'?CPE&C>@&4CFC;GJ<>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWYS& & 7A>DFE=KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW^R& -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
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. -
Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (Zhdk)
Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (ZHdK) Hosted by Kyoto Seika University Shared Campus July 29 — 31, 2019 Global Pop Cultures sities from Europe and Asia (see below). We consider Pop culture is one of the most salient driving forces in close cooperation as imperative to tackle issues of glob- the globalization and innovation of cultures. Pop is also al significance. We are convinced that especially the arts a sphere where politics, identities, and social questions can, and indeed ought to, play an important role in this are negotiated. Rather than denoting only the culture respect. Shared Campus endeavours to create connec- for and of the masses, pop is characterized by the dia- tions that bring value to students, faculty and research- lectical interplay between mainstream and subculture, ers by developing and offering joint transnational educa- their respective milieus and markets. Today, the theory tion and research activities. These collaborative ventures and practice of pop is thoroughly globalized and will enable participants to share knowledge and compe- hybrid. Pop exists only in plural. Global pop cultures are tences across cultural and disciplinary boundaries. characterized by a high degree of variability, plasticity, The platform is designed around thematic clusters of and connectivity. A further reason for the growing com- international relevance with a distinctive focus on trans- plexity of global pop cultures is the fact that pop is no cultural issues and cross-disciplinary collaboration. longer only a DIY culture of amateurs. -
First-Year Japanese Through Anime and Manga I
ASIANLAN123 Fall 2015 First-Year Japanese through Anime and Manga I ASIANLAN123: Course Syllabus 3credits Instructor Yuta Mori Email: [email protected] Office phone: 734-936-8808 Office: South Thayer Building 5022 Office Hours: Tuesday 4:00-5:00 pm Course Description Friday 2:30-3:30 pm ASIANLAN123 is the first half of the accelerated first-year Meeting Time Japanese course taught through various types of media, mainly anime and manga. It is designed for students who have some Section1 previous knowledge of Japanese, but less than the equivalent of Time:12:00-1:00 one year’s study of Japanese at the University of Michigan. Classroom: 1265NQ Students will need to obtain a qualifying score on the placement exam to be placed into this course. However, students do not need Section2 any specific knowledge of anime and manga. Upon successful Time:4:00-5:00 completion of ASIANLAN123, students will take ASIANLAN124 Classroom: G311 DENT (First-Year Japanese through Anime and Manga II) in the following semester. ✦ The class meets THREE times a week: Monday, Wednesday, and Friday. What’s new about this course? Main Textbook The course will incorporate at length various media forms into "GENKI I" An Integrated Course in class activities to improve students’ language skills, as well as to Elementary Japanese Second Edition help students have fun. This approach will increase familiarity with aspects of both traditional and modern Japanese culture that are ✦ Make sure that you have the necessary for language competency. Second Edition! This course also encourages students to become autonomous language learners by providing online tools for self-learning (e.g.