DOCSLIB.ORG

Washington, Tuesday, November 9, 1943

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Washington, Tuesday, November 9, 1943 It A . ’ l UTTEBA I SCRIPTA /Q * } MANET /$*. 1934. ^ VOLUME 8 * {/anted ^ NUMBER 222 Washington, Tuesday, November 9, 1943 The President 19 U.S.C. 1559) y provides in part as CONTENTS follows: “Merchandise upon which any duties or THE PRESIDENT PROCLAMATION 2599 charges are unpaid, remaining In bonded P roclamation: Page warehouse beyond three years from the date Merchandise In G eneral—Order and of importation, shall Be regarded as aBan­ Merchandise in general; order B onded Warehouses doned to the Government and shall Bis sold and bonded warehouses___ 15359 under such regulations as the Secretary of E xecutive Orders: BY THE PRESIDENT OP THE UNITED STATES the Treasury shall prescribe, * * Land transfers from jurisdiction OF AMERICA of Department of Agricul­ WHEREAS‘section 318 of the said act A PROCLAMATION ture to Tennessee Valley (46 Stat. 696; i9 U.S.C. 1318) provides in Authority: WHEREAS section 491 of the Tariff part as follows; Cherokee National Forest Act of 1930, as amended (46 Stat. 726; 52 “Whenever the President shall By proclama­ (C orr.)_______________ 15360 Stat. 1083; 19 U.S.C. 1491) provides in tion declare an emergency to exist by reason part as follows: Nantahala National Forest of a state of war, or otherwise, he may au­ (C orr.)________________ 15360 “Any entered or unentered merchandise thorize the Secretary of the Treasury to (except merchandise entered under section extend during the continuance of such emer­ REGULATIONS AND gency the time herein prescribed for the 557 of this Act, But including merchandise NOTICES entered for transportation in Bond or for performance of any act * * exportation) which shall remain in customs AND WHEREAS, by my Proclamation Alien P roperty Custodian: custody for one year from the date of im­ Vesting orders: portation thereof, without all estimated du­ No. 24871 (55 Stat. 1647) I did, on May ties and storage or other charges thereon 27, 1941, declare an unlimited national Arima, Sumisato___________ 15403 having Been paid, shall Be considered un­ emergency to exist; Bonfiglio, Cecelia and Nicola— 15405 claimed and abandoned to the Government NOW, THEREFORE, I, FRANKLIN D. Grazzini, Josephine (2 docu­ and shall be appraised lay the appraiser of ROOSEVELT, President of the United ments) ---------------- 15398,15409 merchandise and sold by the collector at States of America, acting under and by Haag, Martha______________ 15408 puBlic auction under such regulations as the virtue of the authority vested in me by Hafner, Dr. Sigmund Martin« 15394 Secretary of the Treasury shall pre­ scribe * * the foregoing provision of section 318 of Hassencamp, Hermine KuBler the Tariff Act of 1930, do hereby author­ and Oliver_______ 15402 WHEREAS section 557 of the said act, ize the Secretary of the Treasury, until Holmstroem, Anton, et al__ 15401 as amended (46 Stat. 744; 52 Stat. 1087 the termination of the emergency pro­ Kirchhoff, Anna Marié and and 1088; 19 U.S.C. 1557), provides in claimed on May 27, 1941 or until it shall Siegfried Richard Xaver part as follows: be determined By the President and de­ F ritz--------------------------- 15399 “(a) Any merchandise suBject to duty, with clared by his proclamation that such Kugler, Arthur, et al________ 15401 the exception of perishaBle articles and ex­ action is no longer necessary, whichever Leipzig Trade Fair, Inc_____ 15396 plosives suBstances other than firecrackers, is earlier; Lochner, Emma____________ 15398 may be entered for warehousing .and be (1) To extend the one-year period Mangold, Ella______________ 15395 deposited in a Bonded warehouse at the prescriBed in section 491, supra, as Meyer, Frederick__ ____ 15406 expense and risk of the owner, importer, or amended, for not more than one year Motion picture film copyright consignee. Such merchandise may Be with­ drawn, at any time within three years from from and after the expiration of such interests owned by desig­ the date of importation, for consumption one-year period in any case in which nated nationals: upon payment of the duties and charges ac­ said period has already expired or shall Italian_______________ 15391 cruing thereon at* the rate of duty imposed hereafter expire during the continuance Japanese______ «_________ 15393 By law upon such merchandise at the date of of said emergency and in which the For­ Nagy, John, et al___________ 15407 withdrawal; or may Be withdrawn for ex­ eign Economic Administration certifies Nothdorf, Herman__________ 15397 portation or for transportation and exporta­ to the Commissioner of Customs that Pilster, Gustav and Julie___ 15405 tion to a foreign country, * * * without Rompf, Katherine_____ !____ 15400 the payment of duties thereon, or for trans­ such extension will not impede the war effort; and Rossi, Maddalena________ 15402 portation and rewarehousing at another port SamBataro, Antonio________ 15390 or elsewhere, or for transfer to another (2) To extend the three-year period Sauer, Christian, and Mary bonded warehouse at the same port: Pro­ prescribed in sections 557 and 559, supra, Viser_____________ 15395 vided, That the total period of time for as amended, for not more than one year Schimmel, Anna___________ 15396 which such merchandise may remain in from and after the expiration of such SchoenBerger, Christian, Jr _ 15403 bonded warehouse shall not exceed three three-year period in any case in which * Sentrup, Laurp, Meyer and years from the date of importation * * Paul____ _______________ 15408 WHEREAS section 559 of the said act, 16 F.R. 2617. Sohre, Eleonore____________ 15397 as amended (46 Stat. 744; 52 Stat. 1088; (Continued on p. 15361) (Continued on p. 15360) 15359 15360 FEDERAL REGISTER, Tuesday, November 9, 1943 CONTENTS—Continued CONTENTS^Continued I nterstate Commerce Commis­ S ecurities and E xchange Commis­ sion—Continued. Pa€e sio n : Pags F E D E R A L » register Steam roads; uniform system of Hearings, etc.: accounts________ i______ « 15386 Acme Mining Co_____________15412 Navy D epartment: New England Gas and Electric Enlistments; revision of regu­ Assn., et al__________ 15412 lation _____________ 15381 North American Co____ ______15415 PuBlished daily, except Sundays, Mondays, and days following legal holidays, by the Naval reserve; volunteer reserve Southern Colorado Power Co_ 15413 Division of the Federal Register, The National (special service) medical United Utilities, Inc____ _____ 15413 Archives, pursuant to the authority contained officers__________________ 15385 Ward Baking Co. and Conti­ in the Federal Register Act, approved July 28. Offic e of D efense T ransportation: nental Baking Co_______ 15414 1935 (49 Stat. 500, as amended; 44 U.S.C., Adams Transfer and Storage S elective S ervice S y st e m : ch. 86), under regulations prescribed by the Co., et al., coordinated op­ Conscientious oBjectors’ estaB­ Administrative Committee, approved by the erations plan______________ 15410 lishments: President: DistriBution is made only by the O ffic e of P rice Administration: Kalamazoo State Hospital Superintendent of Documents, Government Printing Office, Washington, D. C. Adjustments, exceptions, etc.: Project, Mich____________15415 The regulatory material appearing herein is Bressler Brothers, Inc______ 15377 New Lisbon Project, N. J -------15415 keyed to the Code of Federal Regulations, Individual orders under price Wernersville State Hospital which is puBlished, under 50 titles, pursuant regulations, list__________15410 Project, Pa______________ 15415 to section 11 of the Federal Register Act, as JoB printers in Denver, Colo— 15411 S olid F uels Administration for amended June 19, 1937. Alfalfa hay, designated western War: The F ederal R egister will Be furnished by states (RMPR 322, Am. 1)_ 15379 mail to suBscribers, free of postage, for $1.50 Anthracite, restrictions on de­ per month or $15.00 per year, payable in ad­ Bakery products (MPR 319, Am. liveries By retail dealers__ 15363 vance. The charge for individual copies 7) _______ 15379 Bituminous coal, unBilled____ 15362 (minimum 150) varies in proportion to the Butyl alcohol and esters thereof W age and Hour Div isio n : size of the issue. Remit check or money (MPR 37, Am. 10)________ 15368 EmBroideries industry, employ­ order, made payable to the Superintendent Canadian residents, ration Books ment of home workers; ef­ of Documents, directly to the Government (Gen. RO 15)__________ : 15378 fective date postponed___ 15362 Printing Office, Washington, D. C. Doors, grain and coal (MPR 483, Learner employment certifi­ There are no restrictions on the repuBlica­ Am. 1 ) ______ _____I _____ 15380 tion of material appearing in the F ederal cates, issuance to various R egister. Food rations, temporary (Gen. industries (2 documents) _ 15387, RO 9, Am. 3 )___________ - 15378 15388 Fuel oil, rationing (RO 11, Am. W ar D epartment: 8 7 )_________________ 15380 CONTENTS—Continued Lighting control within re­ Hawaii: stricted zones; designated Alien P roperty Custodian— Con. Motor vehicle lighting and Western Defense Command Vesting orders—Continued. Pa8e phonograph records zones______________ ______ 15361 Thomasen, Eduard, and oth­ (MPR 373, Am. 22)____ 15369 Navigation regulations; areas of ers________ !___________ 15407 Tire rationing (RO IE, Am. Atlantic Ocean and Gulf Uccello, Domenico and An­ 2 )__________ 15378 of Mexico_________ ______ 15381 gelo_________ 15398 Miscellaneous commodities; ex­ W ar F ood Administration: Weidinger, Ida Becker______ 15404 ceptions for sales to United Maben, Buell F., designated Civ il Aeronautics B oard: States agencies
Load more

Recommended publications
  • Review of the Scottish Animation Sector
    __ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344
    [Show full text]
  • Introduction
    Notes Introduction 1 . See, for example, Mitsuhiro Yoshimoto’s review article “Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan J. Napier” in The Journal of Asian Studies , 61(2), 2002, pp. 727–729. 2 . Key texts relevant to these thinkers are as follows: Gilles Deleuze, Cinema I and Cinema II (London: Athlone Press, 1989); Jacques Ranciere, The Future of the Image (London and New York: Verso, 2007); Brian Massumi, Parables for the Virtual: Movement Affect, Sensation (Durham: Duke University Press, 2002); Slavoj Žižek, The Sublime Object of Ideology (London and New York: Verso, 1989); Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993). 3 . This is a recurrent theme in The Anime Machine – and although Lamarre has a carefully nuanced approach to the significance of technology, he ultimately favours an engagement with the specificity of the technology as the primary starting point for an analysis of the “animetic” image: see Lamarre, 2009: xxi–xxiii. 4 . For a concise summing up of this point and a discussion of the distinction between creation and “fabrication” see Collingwood, 1938: pp. 128–131. 5 . Lamarre is strident critic of such tendencies – see The Anime Machine , p. xxviii & p. 89. 6 . “Culturalism” is used here to denote approaches to artistic products and artefacts that prioritize indigenous traditions and practices as a means to explain the artistic rationale of the content. While it is a valuable exercise in contextualization, there are limits to how it can account for creative processes themselves. 7 . Shimokawa Ōten produced Imokawa Mukuzo Genkanban no Maki (The Tale of Imokawa Mukuzo the Concierge ) which was the first animated work to be shown publicly – the images were retouched on the celluloid.
    [Show full text]
  • Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
    ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy
    [Show full text]
  • Spatial Encounters of Fantasy and Punishment in the Deadman Wonderland Anime
    Online Journal of Art and Design volume 3, issue 3, 2015 Spatial Encounters of Fantasy and Punishment in the Deadman Wonderland Anime Dr. Deniz Balık DokuzEylül University, Faculty of Architecture, Department of Architecture [email protected] ABSTRACT This paper intends to contribute to the interdisciplinary studies of architectural discourse and anime as an art form.Being not limited to pure visual aesthetics and entertainment per se, anime narratives engage with theory by using characters and architectural spaces as a means to make social, political, and philosophical critique. As a case study, this paper focuses on the Japanese anime series Deadman Wonderland (2011), and argues that the architectural design in this anime is a deliberate maneuver to intensify the intended connotations and symbolic meanings, rather than being merely casual background settings and enrichments for the narrative. It is indicated that the anime uses the particular motif of amusement park as the primary metaphor of fantasy, and the specific motif of prison as the ideal metaphor of punishment.Drawing close associations with the views of Michel Foucault, Jean Baudrillard, and Louis Marin, this paper uses the narratives of prison and amusement park as a tool tounfoldthe concepts of power relations, social anxiety, uncanny, repression of trauma and memory. Keywords: Architectural design, anime, cinematic narrative, amusement park, prison, Tokyo. INTRODUCTION Within the context of cinematic fiction and image, architecture plays a major role in transferring the narrative to audience in various scales, ranging from a city silhouette to an interior space design. Architecture contributes to cinematic atmosphere, as it helps the audience to be absorbed into the frames of space/time.
    [Show full text]
  • It's Good to Be the King
    ANIMERICA EXTREME CLOSE-UP otaku: (oh-TAH-koo) n. Term Th Ci 6 Th , used sl to fanatical devo- é OTLSCLETLCE O é tees of anime or manga. i ss a Japanese speakers mightuse this < 4 term in a pejorative sense to lenote someonelacking in social graces and breadth whois obsessive abouta certain subject. —The Complete Anime Guide Tonaka from OTAKU NO VIDEO (aka Toshio Okada) As MelBrooksoncesaid, “It's good to be the King.” In our exclusive four-part interview, ANIMERICA talks with Toshio Okada, the otaku of otaku...the Otaking! Join us for the royal saga of the rise andfall andrise again of super-studio Gainax and moreindustry buzz than Robert Altman’s THE PLAYER.Interview by Carl Gustav Horn Ys may know him through his animealter ego, “Tanaka,” in (1988), NADIA: THE SECRET OF BLUE WATER(1989), and OTAKU “YW OTAKU NOVIDEO. Butthereal-life man is hardly less of a char- NO VIDEO (1991). Conversant with English, Okada was oneof the key 4 acter—goingto college only so he could join a sciencefiction planners of AnimeCon ‘91, one of the first major U.S. conventions to be club, heformed a small group of fan amateurs into Daicon Film, which devoted entirely to anime. But in 1992 heresigned the presidency of amazed fanson both sides of the Pacific with their “garage video” Gainax and made his way to Tokyo University, where the former anime productions and superbattle-team live-action shorts. On dropout now lectures on multimedia. Returning to the U.S. for Otakon Christmas Eve, 1984,the former DaiconFilm group went pro as Studio 'n 1995, Toshio Okadagavehisfirst-ever interview to the English-lan- Gainax, the zealot heretics who made ROYALSPACE FORCE: THE guage animepress.
    [Show full text]
  • Denison, Rayna. "A Guide to Further Research." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
    Denison, Rayna. "A Guide to Further Research." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. London: Bloomsbury Academic, 2017. 193–200. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781501329753-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 07:00 UTC. Copyright © Rayna Denison 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 93 A GUIDE TO FURTHER RESEARCH Th e publishing world around manga and anime has exploded in recent years, making a guide like this one far more of a challenge than in the past. Th e aim here is to highlight the major resources (in English) that students and research- ers might fi nd helpful, so it is not an exhaustive list. Rather, this guide is intended as a starting point for future bibliographies, and as a recommended set of read- ings for those interested in fi nding out more about Princess Mononoke , Hayao Miyazaki or anime in general. Th ere is also a fi lmography at the end of this book, for suggestions for further viewing. Mononokehime and Princess Mononoke Denison, Rayna. ‘Th e Language of the Blockbuster: Promotion, Princess Mononoke and the Daihitto in Japanese Film Culture’ in Leon Hunt and Leung Wing- Fai (eds), East Asian Cinemas: Exploring Transnational Connections on Film (London and New York: I. B. Tauris, 2008a), pp. 103– 22. Th is chapter in East Asian Cinemas is one of the fi rst to tackle Miyazaki’s success in Japan.
    [Show full text]
  • Region Company Job Title Content Genre Interested
    As of 19/05/2021 COUNTRY/ COMPANY JOB TITLE CONTENT GENRE INTERESTED IN REGION Kids/Youth/Animation Belgium IMPS Sales Manager Asia Kids/Youth/Animation Canada Wildbrain Sales Manager Sell programme rights (finished content) Entertainment Director Sales, One Television Canada International Documentary/Factual Sell programme rights (finished content) International Drama/Series/Scripted Format Distribution Limited Kids/Youth/Animation Huanyu China Distribution Sell programme rights (finished content) Entertainment Drama/Series/Scripted Format Sell remake rights Feature film Introduce IP or projects for development Senior Manager, Kids/Youth/Animation China Huace China Overseas Distribution & Sell programme rights (finished content) Film&TV Drama/Series/Scripted Format Sell remake rights Marketing Feature film Introduce IP or projects for development Head of International Sell programme rights (finished content) China NP Entertainment Business / Assistant Drama/Series/Scripted Format Sell remake rights President Feature film Introduce IP or projects for development Kids/Youth/Animation China Cthunder Media Copyright Manager Sell programme rights (finished content) Introduce IP or projects for development Kids/Youth/Animation Sell programme rights (finished content) China Media Caravan Founder Drama/Series/Scripted Format Zhejiang Devil Kids/Youth/Animation King Animation China CEO Documentary/Factual Sell programme rights (finished content) Technology Co., Drama/Series/Scripted Format Sell remake rights Feature film Ltd. As of 19/05/2021 COUNTRY/ COMPANY JOB TITLE CONTENT GENRE INTERESTED IN REGION Kids/Youth/Animation Find production and financing partners Zoland International Sales & China Documentary/Factual Sell programme rights (finished content) Distribution Acqusition Drama/Series/Scripted Format Introduce IP or projects for development Shanghai Bilibili Kids/Youth/Animation China Technology Co., Senior Manager ‐ Sales Documentary/Factual Sell programme rights (finished content) Ltd.
    [Show full text]
  • The Magical Boy As Queering Device Alexandre Girard Vermeil a Thesis
    Moon Prism Boys: The Magical Boy as Queering Device Alexandre Girard Vermeil A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada June 2020 © Alexandre Girard Vermeil, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Alexandre Girard Vermeil Entitled: Moon Prism Boys: The Magical Boy as Queering Device and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) Complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Chair Marc Steinberg, PhD Examiner (Internal) Beenash Jafri, PhD Examiner (External) Bryan Hikari Hartzheim, PhD Supervisor Marc Steinberg, PhD Approved by Marc Steinberg, PhD, Graduate Program Director 2020 Annie Gérin, PhD, Dean of Faculty iii ABSTRACT Moon Prism Boys: The Magical Boy as Queering Device Alexandre Girard Vermeil Through a queer lens, this thesis examines the role that the magical boy character plays in the manga Magical Boy Majorian (2007-2008), and in season 15 of the popular magical girl genre anime franchise Pretty Cure, entitled Hugtto! PreCure (2018-2019). Using queer theory and gender studies research, this thesis argues that the magical boy figure challenges problematic forms of masculinity by performing what I call ‘shōjoness,’ a particular form of feminine aesthetic mainly found in shōjo (for girls) manga, and anime. The thesis contends that henshin (transformation) sequences allow a space for gender negotiation, which disrupts a heteronormative structure through the crossing, and blending, of gender expression and form.
    [Show full text]
  • Discourses of War and History in the Japanese Game Kantai Collection and Its Fan Community
    Discourses of war and history in the Japanese game Kantai Collection and its fan community Valtteri Vuorikoski [email protected] Master’s Thesis Department of World Cultures, University of Helsinki Tiedekunta/Osasto – Fakultet/Sektion – Faculty Laitos – Institution – Department Humanistinen tiedekunta Maailman kulttuurien laitos Tekijä – Författare – Author Valtteri Vuorikoski Työn nimi – Arbetets titel – Title Discourses of war and history in the Japanese game Kantai Collection and its fan community Oppiaine – Läroämne – Subject Itä-Aasian tutkimus Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu -tutkielma Marraskuu 2017 111 Tiivistelmä – Referat – Abstract Tutkielmassa tarkastellaan japanilaista Kantai Collection -laivastosotapeliä ja siihen liittyvä mediakokonaisuutta (media mix) sekä kyseisen mediakokonaisuuden yleisön sen pohjalta tuottamia omakustanteisia fan fiction -teoksia. Kantai Collection -pelin eri versioiden lisäksi tarkastellaan samannimistä animaatiosarjaa, mutta viitataan myös sarjakuva- ja elokuvaversioihin. Fan fiction -teoksia tarkastellaan sekä määrällisesti (N=120) että laadullisesti (N=46). Tarkastelu on kaksivaiheinen. Ensiksi analysoidaan alkuperäisteosten tarinarakenteita ja diskursseja Tyynenmeren sodasta ja Japanin lähihistoriasta soveltaen Michel Foucault’n määrittämää diskurssianalyysia sekä Umberto Econ teoriaa avoimista ja suljetuista teoksista. Toisessa vaiheessa analysoidaan samoin laadullisin menetelmin, miten yleisön tuottamat fan
    [Show full text]
  • Exotic Geeks Problematizing Japanese and Western Anime Otaku
    Göteborg University Advanced Level Department of Culture, Aesthetics and Media Autumn 2006 Film Studies Advisor: Therése Andersson Exotic Geeks Problematizing Japanese and Western Anime Otaku Advanced Essay (Level C) Presented in January 2007 by Viktor Eikman Abstract Title: Exotic Geeks: Problematizing Japanese and Western Anime Otaku Author: Viktor Eikman Institution: Department of Culture, Aesthetics and Media, at Göteborg University Advisor: Therése Andersson Course: FV4100: Film Studies, Advanced Level Presented: Autumn semester 2006 Abstract: Exotic Geeks critically examines the history of the word “otaku”, used to denote various ideas related to geeky fans, from the early 1980s to the present day. The aim is to provide a foundation for future use of the term to describe concepts in aid of understanding film culture. However, most uses of the word to describe Japanese geeks have been tinted by orientalism, by general tendencies to pathologize fans, and by the historical coincidence that the word was first popularized in a media panic over a series of murders. Westerners have generally conceived of “otaku” through the lens of that Japanese panic, exoticizing them as alien super-geeks, or else appropriating the term to celebrate or condemn Western fans of Japanese exports, particularly anime (Japanese animation). Several other mutually contradictory definitions are also dealt with, especially Murakami Takashi's idea that “otaku” are those who carried the torch in sublimating the memory of the Second World War and the contradictions of Japan's long postwar humiliation as art. Murakami's theory is tested through close reading of three anime titles: Royal Space Force: The Wings of Honneamise (1987), Gunbuster (1988) and Otaku no Video (1991).
    [Show full text]
  • Thematic Tension Between Trauma and Triumph in Hideaki Anno's Neon Genesis Evangelion
    Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2016 Thematic Tension between Trauma and Triumph in Hideaki Anno’s Neon Genesis Evangelion Vanna Dejeu Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Film and Media Studies Commons Recommended Citation Dejeu, Vanna, "Thematic Tension between Trauma and Triumph in Hideaki Anno’s Neon Genesis Evangelion" (2016). Honors Senior Theses/Projects. 91. https://digitalcommons.wou.edu/honors_theses/91 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Thematic Tension between Trauma and Triumph in Hideaki Anno’s Neon Genesis Evangelion by Vanna Dejeu An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Henry Hughes, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2016 Dejeu 1 TABLE OF CONTENTS ACKNOWLEDGEMENTS 2 ABSTRACT 3 HISTORY OF ANIME 4 HISTORY OF GAINAX AND NEON GENESIS EVANGELION 9 IN THE CASE OF SHINJI IKARI 14 IN THE CASE OF REI AYANAMI 19 IN THE CASE OF ASUKA LANGLEY SORYU 22 IN THE CASE OF MISATO KATSURAGI 26 IN THE CASE OF GENDO IKARI 31 CONCLUSION 35 REFLECTION 40 WORKS CITED 42 Dejeu 2 ACKNOWLEDGEMENTS First and foremost, I would like to thank the Honors Committee for allowing me to explore and extensively write about another passion of mine.
    [Show full text]
  • Vicon Nexus Product Guide
    Vicon Nexus Product Guide Contents About this guide ....................................................................................................................................... 6 Upgrading Vicon Nexus .......................................................................................................................... 6 Using the Correct Basler Drivers .......................................................................................................... 6 About Nexus ................................................................................................................................................... 7 Preparing the Capture Environment .................................................................................................... 7 Minimizing System Inaccuracy ............................................................................................................. 8 Nexus Components ................................................................................................................................. 9 Vicon File Types Used in Nexus ........................................................................................................... 12 Nexus User Interface .................................................................................................................................. 13 About the Nexus User Interface .......................................................................................................... 13 Customizing the Nexus User Interface .............................................................................................
    [Show full text]