BJAA NEWSLETTER NOVEMBER 2013 Issue
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Tesis.Pdf (13.00Mb)
Programa de Doctorado en Ciencias Sociales y Jurídicas Escuela Internacional de Doctorado 2018 TESIS DOCTORAL Lidia Esteban López Sofia López Hernández, Mario Rajas Fernández y Eduardo Rodríguez Merchán Antonio Sánchez-Escalonilla García-Rico En el transcurso de los últimos dos años han fallecido dos apasionados de la música y el cine sin los que esta tesis hubiera sido completamente distinta. A uno de ellos nunca llegué a conocerlo, al menos no más allá de lo que uno puede conocer a alguien a través de su obra. Se trata de Isao Takahata, protagonista de las próximas páginas. Con el otro sí tuve la fortuna de coincidir. Eduardo Rodríguez Merchán, director inicial de este trabajo de investigación, me dijo que hablara de música, quiso que analizara las películas que más me gustaban (“si estás dispuesta a aprender japonés...”). Pero además fue espectador de mis conciertos, y compartió su sonrisa cálida y sus consejos cercanos en tardes de merienda y cine. No puedo por menos que agradecer enteramente esta tesis a un amigo. I. INTRODUCCIÓN ............................................................................ 1 1. Elección del tema de investigación ............................................ 1 2. Introducción a Studio Ghibli ...................................................... 5 3. Proceso de producción y conceptos básicos ............................ 11 II. METODOLOGÍA ........................................................................... 17 1. Objetivos ................................................................................ -
Introducing Studio Ghibli James Rendell and Rayna Denison Many
Introducing Studio Ghibli James Rendell and Rayna Denison Many readers of this special issue of the Journal of East Asian Popular Culture will already feel that they know Studio Ghibli. Famously founded in 1985 by animation film directors Hayao Miyazaki and Isao Takahata, along with then-magazine editor, Toshio Suzuki, Studio Ghibli has dominated Japan’s box office since the mid-1990s. Furthermore, thanks to an international distribution deal with Buena Vista International, a subsidiary of Disney, Hayao Miyazaki’s films have become well-known transnational phenomena, garnering international film festival awards and even an Oscar. This international recognition sits alongside the work undertaken by a legion of active fans who have likewise promoted Miyazaki and Ghibli’s works outside Japan. However, reflecting on the studio’s closure in 2014 – after nearly 30 years of film, television and other kinds of production – there are still many aspects of Studio Ghibli that remain obscure. Despite recent rumours that Miyazaki may be coming out of retirement one last time (a pattern he has been repeating since the late 1990s), the (perhaps temporary) moth-balling of Studio Ghibli’s feature production efforts in 2014 presents the scholars in this collection with an opportunity to reconsider Studio Ghibli’s local and global significance. This special edition of the Journal of East Asian Popular Culture is therefore intended to strategically address some of the gaps in anime scholarship, and in the scholarship around Studio Ghibli. In this introduction we also seek to provide a more holistic understanding of what Studio Ghibli is, whose work it represents and how it has become a success both at home and abroad. -
Cineclubuned 24.Pdf
Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07 -
Animation and Development. Una Gallagher B00475908 Mdes Design Communication, DES811, Paul Mckevitt, School of Creative Arts, University of Ulster
Two Lives: Animation and Development. Una Gallagher B00475908 MDes Design Communication, DES811, Paul McKevitt, School of creative Arts, University of Ulster. 1 Abstract “Two Lives” is a story split into two versions, a comic and an animation adaptation. Digital art, hand drawing, traditional animation and rotoscope animation are all combined to make these pieces a reality. “Two Lives” was produced by Pearlmoon Productions which was also founded during its production. The Author of this piece is co-founder of Pearlmoon Productions and oversees all creative direction, animation production, comic production, art, idea development, editing, visual presence, branding and many other roles within the group. The goal of “Two Lives” is to create a standalone story for the purpose of providing entertainment that can be enjoyed across many platforms. It was created using traditional and digital mediums and it is influenced heavily on eastern styled animation and comics. As part of that aim, Pearlmoon Productions serves a similar purpose, aiming to give multi-platform life to continuations, new project, and other forms of entertainment. “Two Lives” was reviewed well by peers and the production went smoothly. Future work derived from “Two Lives” will be a sequel comic book chronicling the continued stories of the main characters as they continue their lives. 1. Introduction “Two Lives” is both a comic book and animation that aims to bring a story into several mediums to create a new perspective on the story itself. Pearlmoon Productions was the name given to the people who created both the design, animation and the visual elements and the music and sound creators. -
Vernon, Alice. "Beyond Girlhood in Ghibli: Mapping Heroine
Vernon, Alice. "Beyond Girlhood in Ghibli: Mapping Heroine Development against the Adult Woman Anti-hero in Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 115–130. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781501329753.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 21:03 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 15 Chapter 6 B EYOND GIRLHOOD IN GHIBLI: MAPPING HEROINE DEVELOPMENT AGAINST THE ADULT WOMAN ANTI- HERO IN PRINCESS MONONOKE Alice Vernon Many of the fi lms of Studio Ghibli feature a child or young adult protagonist. In most of these cases, the audience is presented with a celebration of girlhood. From Tonari no Totoro ( My Neighbor Totoro, Hayao Miyazaki, 1988) to Omoide no M ā n ī ( When Marnie Was Th ere, Hiromasa Yonebayashi, 2014), Studio Ghibli has explored the adolescent heroine in stories of fantasy, realism, com- edy and drama. In Mononokehime ( Princess Mononoke, Hayao Miyazaki, 1997), the heroine, San, is set against a female antagonist in such a way that both per- sonalities are problematized (for more on San’s unique position within Ghibli’s history see Chapter 5 ). It is through Hayao Miyazaki’s inclusion of Lady Eboshi that the director examines the relationship between the heroine and an adult woman anti- hero. Th is chapter identifi es the parallels between San and Lady Eboshi in terms of their personalities and interactions as well as in comparison with wider cultural contexts, in order to investigate Princess Mononoke ’s explo- ration of femininity extending beyond girlhood. -
The Animation Cinema of Hayao Miyazaki
The animation cinema of Hayao Miyazaki Grado en Historia del Arte. Facultad de Filosofía y Letras Julio 2018 Índice 1. INTRODUCCIÓN ........................................................................................................................................... 3 1.2. ELECCIÓN Y JUSTIFICACIÓN DEL TEMA ........................................................................................... 3 1.3. OBJETIVOS ................................................................................................................................................. 3 1.4. ESTADO DE LA CUESTIÓN..................................................................................................................... 4 1.5. METODOLOGÍA APLICADA .................................................................................................................... 4 2. EL CINE DE ANIMACIÓN DE HAYAO MIYAZAKI ................................................................................. 6 2.1 LA ANIMACIÓN JAPONESA ......................................................................................................................... 6 2.2. HAYAO MIYAZAKI Y EL STUDIO GHIBLI ................................................................................................... 9 2.2.1. Biografía .......................................................................................................................................... 9 2.2.2. Studio Ghibli .................................................................................................................................. -
The Red Turtle
The Red Turtle A film by Michael Dudok De Wit 80 min East Coast Publicity West Coast Publicity Distributor Jeff Hill Ziggy Kozlowski Sony Pictures Classics Carmelo Pirrone [email protected] Block Korenbrot 917-575-8808 6100 Wilshire Blvd Suite 170 Maya Anand 25 Madison Ave New York, Los Angeles, CA 90048 323-634-7001 tel NY 10010 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax THE RED TURTLE Filmmakers Original Story Michael Dudok de Wit Screenplay Michael Dudok de Wit Adaptation Pascale Ferran and Michael Dudok de Wit Design Michael Dudok de Wit Music Laurent Perez del Mar Artistic Producer Isao Takahata Animation Studio and Producers Prima Linea Productions Valérie Schermann and Christophe Jankovic Production Manager Tanguy Olivier 1st Assistant Director Jean-Pierre Bouchet Storyboard Michael Dudok de Wit Chief Animator Jean-Christophe Lie Assistant Chief Animator Marie Bouchet Layout Supervisor Eric Briche Background Supervisor Julien De Man Color Supervisor Emma McCann Shadow Animator Pascal Herbreteau Compositing Supervisors Jean-Pierre Bouchet and Arnaud Bois Special Effects Supervisor Mouloud Oussid Editor Céline Kélépikis Digital Grading Peter Bernaers Sound Supervisor Bruno Seznec Mix Fabien Devillers Sound Editor Mattieu Michaux Sound Design Alexandre Fleurant and Sébastien Marquilly Foley Artist Florian Fabre Sound Piste Rouge a Why Not Productions – Wild Bunch – Studio Ghibli – CN4 Productions – Arte France Cinema – Belvision Coproduction – with the support of Eurimages – with the participation of Canal+ – Ciné+ – Arte France – Region Poitou-Charentes – Departement de la Charente – Region Wallonne – Fondation Gan pour le cinema – in association with Cinemage 9 – Palatine Etoile 11 – Palatine Etoile 12 – BNP Paribas Fortis Film Finance SYNOPSIS Through the story of a man shipwrecked on a tropical island inhabited by turtles, crabs and birds, The Red Turtle recounts the milestones in the life of a human being. -
Listeréalisateurs
A Crossing the bridge : the sound of Istanbul (id.) 7-12 De lʼautre côté (Auf der anderen Seite) 14-14 DANIEL VON AARBURG voir sous VON New York, I love you (id.) 10-14 DOUGLAS AARNIOKOSKI Sibel, mon amour - head-on (Gegen die Wand) 16-16 Highlander : endgame (id.) 14-14 Soul kitchen (id.) 12-14 PAUL AARON MOUSTAPHA AKKAD Maxie 14 Le lion du désert (Lion of the desert) 16 DODO ABASHIDZE FEO ALADAG La légende de la forteresse de Souram Lʼétrangère (Die Fremde) 12-14 (Ambavi Suramis tsikhitsa - Legenda o Suramskoi kreposti) 12 MIGUEL ALBALADEJO SAMIR ABDALLAH Cachorro 16-16 Écrivains des frontières - Un voyage en Palestine(s) 16-16 ALAN ALDA MOSHEN ABDOLVAHAB Les quatre saisons (The four seasons) 16 Mainline (Khoon Bazi) 16-16 Sweet liberty (id.) 10 ERNEST ABDYJAPOROV PHIL ALDEN ROBINSON voir sous ROBINSON Pure coolness - Pure froideur (Boz salkyn) 16-16 ROBERT ALDRICH Saratan (id.) 10-14 Deux filles au tapis (The California Dolls - ... All the marbles) 14 DOMINIQUE ABEL TOMÁS GUTIÉRREZ ALEA voir sous GUTIÉRREZ La fée 7-10 Rumba 7-14 PATRICK ALESSANDRIN 15 août 12-16 TONY ABOYANTZ Banlieue 13 - Ultimatum 14-14 Le gendarme et les gendarmettes 10 Mauvais esprit 12-14 JIM ABRAHAMS DANIEL ALFREDSON Hot shots ! (id.) 10 Millenium 2 - La fille qui rêvait dʼun bidon dʼessence Hot shots ! 2 (Hot shots ! Part deux) 12 et dʼune allumette (Flickan som lekte med elden) 16-16 Le prince de Sicile (Jane Austenʼs mafia ! - Mafia) 12-16 Millenium 3 - La reine dans le palais des courants dʼair (Luftslottet som sprangdes) 16-16 Top secret ! (id.) 12 Y a-t-il quelquʼun pour tuer ma femme ? (Ruthless people) 14 TOMAS ALFREDSON Y a-t-il un pilote dans lʼavion ? (Airplane ! - Flying high) 12 La taupe (Tinker tailor soldier spy) 14-14 FABIENNE ABRAMOVICH JAMES ALGAR Liens de sang 7-14 Fantasia 2000 (id. -
From Albums to Images Studio Ghibli's Image Albums and Their Impact On
TRANS 16 (2012) ARTÍCULOS/ ARTICLES From Albums to Images Studio Ghibli’s Image Albums and their impact on audiovisual strategies Marco Bellano (Università degli Studi di Padova) Resumen Abstract Los compositores japoneses para películas de animación Japanese composers for animation are usually asked to write escriben música preliminar a partir de arte conceptual y preliminary music based on concept art and pre-production materiales de pre-producción. Esta música es editada en Cds materials. This music is released in CDs called image albums. llamados “image albums”. La existencia de “image albums” The existence of image albums influences the creation of influencia la creación de música de cine en la medida en que film music, as the composer is required to restrain se espera que el compositor encuentre la inspiración dentro inspiration within the boundaries of the preliminary music, de los confines de la música preliminar, escrita al margen de written without concern for audiovisual relationships. las relaciones audiovisuales. Por ello, la música en las Because of that, music in Japanese animation usually works películas japonesas de animación funciona normalmente as generic commentary to the moving images, without como un comentario genérico a las imágenes en detailed forms of interaction. Studio Ghibli composers, movimiento. Los compositores del Studio Ghibli han however, have found ways to define more complex encontrado, sin embargo, formas de definir funciones audiovisual functions by using processes of new audiovisuales más complejas -
"Filmography." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
Denison, Rayna. "Filmography." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. London: Bloomsbury Academic, 2017. 215–216. Bloomsbury Collections. Web. 25 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 11:56 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. 2 15 F ILMOGRAPHY Akira (1988), [Film] Dir. Katsuhiro Ō tomo, Japan: T ō h ō . Bambi (1942), [Film] Dir. David Hand, James Algar, Samuel Armstrong, Graham Heid, Bill Roberts, Paul Satterfi eld, Norman Wright, USA: Disney. Gake no ue no Ponyo/ Ponyo (2008), [Film] Dir. Hayao Miyazaki, Japan: Studio Ghibli. Hauru no ugoku shiro/ Howl’s Moving Castle (2004), [Film] Dir. Hayao Miyazaki, Japan: Studio Ghibli. Heisei tanuki gassen Ponpoko / Pompoko (1994), [Film] Dir. Isao Takahata, Japan: Studio Ghibli. Kagyua- hime no monogatari/ Th e Tale of Princess Kaguya (2013), [Film] Dir. Isao Takahata, Japan: Studio Ghibli. Karigurashi no Ariett ī / Arietty (2010), [Film] Dir. Hiromasa Yonebayashi, Japan: Studio Ghibli. Kaze no tani no Naushika/ Nausica ä of the Valley of the Wind (1984), [Film] Dir. Hayao Miyazaki, Japan: Topcraft . Kaze tachinu/ Th e Wind Rises (2013), [Film] Dir. Hayao Miyazaki, Japan: Studio Ghibli. Kimi no na wa / Your Name (2016), [Film] Dir. Makoto Shinkai, Japan: Amuse, Answer Studio, CoMix Wave Films, East Japan Marketing & Communications, Kadokawa, Lawson HMV Entertainment,T ō h ō , Vogue Ting. K ō kaku kid ō tai/ Ghost in the Shell (1995), [Film] Dir. -
Gkids Brings Complete Studio Ghibli Film Retrospective to Ifc Center
FOR RELEASE: November 14, 2011 Contact: Sara Groves (212) 774-3685, [email protected] Images available at www.gkids.tv/ghiblipress GKIDS BRINGS COMPLETE STUDIO GHIBLI FILM RETROSPECTIVE TO IFC CENTER 15 TITLES FROM 1984 TO 2008 INCLUDING HAYAO MIYAZAKI MASTERPIECES “SPIRITED AWAY” “PRINCESS MONONOKE” “MY NEIGHBOR TOTORO” “CASTLE IN THE SKY” “NAUSICAA OF THE VALLEY OF THE WIND” ***NEW 35MM PRINTS*** DEC 16 TO JAN 12 AT IFC CENTER ADVANCE TICKETS AT WWW.GKIDS.COM RETROSPECTIVE TO VISIT LA, CHICAGO, DC, TORONTO, BOSTON, SF, SEATTLE AND OTHER MAJOR MARKETS New York, New York – November 14, 2011 – GKIDS, a distributor of award winning animation for both adults and family audiences, is bringing a complete retrospective of films from Japan’s renowned Studio Ghibli to the IFC Center in New York from Friday, December 16 to Thursday, January 12. The run will include US premiere theatrical engagements for several titles. All fifteen Studio Ghibli feature films produced between 1984 and 2008 will be presented, including Hayao Miyazaki’s Academy Award® winning Spirited Away, Princess Mononoke, My Neighbor Totoro, Nausicaä of the Valley of the Wind, Castle in the Sky, Ponyo, Howl’s Moving Castle, and Kiki’s Delivery Service. Films will be shown in both the subtitled and English dubbed versions. (See below for a complete list of titles.) GKIDS recently entered into agreement with Studio Ghibli to handle North American theatrical distribution for their library of animated features. As the first engagements announced under the agreement, New York Film Festival presented a 25 year anniversary screening of Castle in the Sky and 10 year anniversary screenings of Spirited Away. -
A Través De La Mente De Hayao Miyazaki
INS LLUÍS DOMÈNECH I MONTANER TREBALL DE RECERCA CURS 2014-2015 A TRAVÉS DE LA MENTE DE HAYAO MIYAZAKI ALUMNAS: Inés Pedraza Martínez Silvia Matey Touza TUTORA: Elena Santos Botana “Esta es la última aeronave que diseño, me retiro. Las personas creativas lo somos, como mucho, durante una década. El mismo principio se aplica a ingenieros y artistas. Tu deber es dar lo mejor de ti durante esta década.” Caproni en El viento se levanta AGRADECIMIENTOS Nos gustaría mostrar nuestro agradecimiento a Elena Santos, nuestra tutora, quien nos ha guiado durante la realización de este proyecto desde el primer momento, aconsejándonos siempre lo mejor y haciendo posible este trabajo y en especial a Moisés Garriga, el músico, por haber trabajado soportando grandes exigencias y aun así haber contribuido a la realización de la animación con un trabajo excelente. ÍNDICE 2. BIOGRAFÍA DE HAYAO MIYAZAKI ............................................................................................... 4 3. HISTORIA DEL STUDIO GHIBLI ................................................................................................. 10 4. CONTEXTO NAUSICAÄ DEL VALLE DEL VIENTO ....................................................................... 15 4.1 UNA PREDICCIÓN DESESPERANZADORA ........................................................................... 16 4.2 LA LUCHA ENTRE MUJERES ............................................................................................... 17 4.3 CURIOSIDADES ..................................................................................................................