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Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Willieverbefreelikeabird Ba Final Draft
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Fashion Subcultures in Japan A multilayered history of street fashion in Japan Ritgerð til BA-prófs í japönsku máli og menningu Inga Guðlaug Valdimarsdóttir Kt: 0809883039 Leðbeinandi: Gunnella Þorkellsdóttir September 2015 1 Abstract This thesis discusses the history of the street fashion styles and its accompanying cultures that are to be found on the streets of Japan, focusing on the two most well- known places in Tokyo, namely Harajuku and Shibuya, as well as examining if the economic turmoil in Japan in the 1990s had any effect on the Japanese street fashion. The thesis also discusses youth cultures, not only those in Japan, but also in North- America, Europe, and elsewhere in the world; as well as discussing the theories that exist on the relation of fashion and economy of the Western world, namely in North- America and Europe. The purpose of this thesis is to discuss the possible causes of why and how the Japanese street fashion scene came to be into what it is known for today: colorful, demiurgic, and most of all, seemingly outlandish to the viewer; whilst using Japanese society and culture as a reference. Moreover, the history of certain street fashion styles of Tokyo is to be examined in this thesis. The first chapter examines and discusses youth and subcultures in the world, mentioning few examples of the various subcultures that existed, as well as introducing the Japanese school uniforms and the culture behind them. The second chapter addresses how both fashion and economy influence each other, and how the fashion in Japan was before its economic crisis in 1991. -
L'uniforme Scolastica Femminile in Giappone Tra Conformismo E
Università Ca’ Foscari Venezia Corso di Laurea magistrale in Lingue e Civiltà dell’Asia e dell’Africa Mediterranea Tesi di Laurea L’uniforme scolastica femminile in Giappone tra conformismo e trasgressione Relatrice Ch. Prof.ssa Maria Roberta Novielli Correlatrice Ch. Prof.ssa Paola Scrolavezza Laureanda Chiara Silini Matricola 826608 Anno Accademico 2013 / 2014 1 2 要旨 制服は全体の世界社会の中で大切な役割がある。制服はいろいろな点から魅力的 な服装である。社会の中で、多くの場合では、服を着るのは制服を着るという意 味になる。そのために制服をわかるのは社会をわかるのと同じだと考えられる。 社会の中で２つの形態がある。一つは公式見解であり、二つは非公式見解である 。公式見解によれば制服は命令、規律、コントロールなどを示唆する。反対に、 非公式見解によれば、制服はファッション、エロ世界などを示唆する。 日本の女子学生制服はその二つの傾向の一番いい例である考えられる。学生制服 は学校制度のシンボルとして、フォーマルな服装である。しかし、大衆文化的に なると、新しい意味を持つようになることがよく見られる。このようにして、女 子学生制服はかわいいカルチャー、サブカルチャー、エロ世界などにも使えるよ うになった。それはなぜか。この卒業論文はその問題に答えを見つけることを目 的としている。 アイディアは大学の２年生のときに出た。そのときはファッションの世界に夢中 になった。熱心な気持ちから、独学者で服に関する勉強をはじめた。習ったこと を実際に使いたいと思っていたので、どのように卒業論文にも入れられるか考え 始めた。考えれば考えるほど、突然新しいアイディアがひらめいた。制服だった 。日本にはたくさんの制服があり、日本の社会にとって制服は大切な役割がある 。制服はファッションの研究の問題だけではなく、主に社会学の問題である。５ 年生でノヴィエッリ先生とはじめて相談した。そのときには、先生からアドバイ スを頂いた。制服のアイディアはよいが、もっと具体的なテーマを選ぶ必要があ ると言われた。その時に、明治時代の日本における洋服の採用に関する本を先生 に勧められた。本では学生制服の採用についてもよく説明があった。その時まで 3 私は学生制服を理解する必要ないと考えていた。しかし、私の期待に反して、女 子学生制服が卒業論文のテーマになった。去年の２月から５月までインターシッ プをするために東京に旅行した。そのときには、国立国会図書館で資料を探した 。何を探すか知らなかったので、研究は思っていたより少し難しかった。それに もかかわらず、イタリアに帰るまでに見つけた資料がたくさんあった。なので、 イタリアに帰った後で卒業論文を書いた。 卒業論文を書くために使った文献すべて東京の国立国会図書館とインターネット で集めた書類である。大衆文化の具体的な例として、マルチメディアも（映画、 マンガなど）使った。 最後的に卒業論文のファイルは６章になり、いろいろな点から日本の女性学生制 服を論じている。 第１章では、制服の概念を論じる。様々な制服を使いの観点から分類した後、一 般的な学生制服に関して説明する。 第２章では明治時代の洋服の採用について書いた。明治維新の社会的変革の中で -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
Tokyo Ribelle: Processi Di Formazione Delle Subculture Giovanili Di Shibuya E Harajuku
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e civiltà dell'Asia e dell'Africa Mediterranea Tesi di Laurea Tokyo Ribelle: Processi di formazione delle subculture giovanili di Shibuya e Harajuku Relatore Prof.ssa Roberta Novielli Correlatore Prof.ssa Paola Scrolavezza Laureando Federica Zaghini Matricola 827802 Anno Accademico 2014/ 2015 要旨 本論文の目的は東京におけるユースサブカルチャー（若者文化）を分析するため、その 原因と素因を検討することである。特に、渋谷の「ギャル」サブカルチャーと原宿の「ロ リータ」と「デコラ」サブカルチャーを代表とした若者文化の特徴を考慮することにした。 日本の若者文化を分析した理由は、渋谷や原宿から生まれた若者文化はパンク（punk）や ゴス（goth）など西洋の若者文化と比べると、唯一の特性を持ち、現在では自分のアイデ ンティティーを確立するための手段として世界中の若者たちに影響を与えるからである。 本論の講成については次の通りである。 はじめに、序論でユースサブカルチャーについて基本的な概念を紹介する。第一章でメ インカルチャーとサブカルチャーの違いを説明した上で、ヘブディジ氏の作品による「象 徴」の概念も紹介する。次に、日本の戦争後の社会的な状態を解析し、若者文化の発生の 原因にさかのぼる。これまでの研究では、サブカルチャーは社会、景気、また価値の危機 状況から発生する現象であると言われており、危機状況に直面してしまう若者たちはどの ように反応するか、またそれに対し社会はどのように変化するかについて詳しく分析して いく。 続いて、第二章ではユースサブカルチャーに影響を与えた基本要素を検討する。日本社 会では「世間体」という概念は重要だと考えられている。しかし、若者文化といえば、普 通とは異なる外見であろう。このことについて、第一の基本要素と考えられる日本社会に おける「一様性」を考慮していく。次に、調査された若者文化は女性のほうが優位である ため、「かわいい文化」や「少女文化」などの女性文化はどのような影響を与えたか、そ してなぜ「かわいい」という概念は反抗的な性質があるといえるかなどを分析する。 また、８０年代の半ば、ポケベルをはじめ、ＰＨＳ、携帯電話など新しい通信が開発され ると共に、人間関係も変化を示している。従って、「ギャル文字」や「ポケ言葉」など若 者たち以外に分からない暗語が生み出され、サブカルチャーのコミュニケーション方法を 感化したのである。さらに、以上述べたように、若者文化の外見は特異であるし、サブカ ルチャーの異様なファッションはコスプレと誤解することがよくある。異様なスタイルに もかかわらず、サブカルチャーのファッションはただの遊びではなく、自分のアイデン 2 ティティーを確立する方法だといえる。 そこで、第三章では若者たちはどのようにして東京の場所と関係を作るようになること について考慮してく。サブカルチャーの種類は場所によって異なるため、難波功士氏の研 究による「族」と「系」という種類の違いを詳しく検討する。 最後に、第四章では第三章までに検討された基本要素を通じ、サブカルチャーについて さらに分析していく。まず第一に、「ギャル」サブカルチャーを中心にしてその起源、反 -
Traducciones Instantáneas
Unidad Lleó. Blanca Lleó, Juan Elvira, Fernando Pino y Javier Revillo Primavera 2015. Proyectos 5 y 6 Condensadores Sociales (made in Japan). Ejercicio 1: Japón: Traducciones Instantáneas Shigeru Mizuki. Fantasmas tradicionales de Japón 2. Glosario Bōsōzoku, (literally "running-out-of-control (as of a vehicle) tribe") is a Japanese youth subculture associated with customized motorcycles. Buzoku. The Tribe was the best known name of a loose-knit countercultural group in Japan in the 1960s and 70s. Central figures of the group's beginnings in Shinjuku and leadership included Nanao Sakaki, Tetsuo Nagasawa, Sansei Yamao, Mamoru Kato, and Kenji Akiba, who shared an interest in an alternative community, free from materialism.This group initially called itself "the Bum Academy" or sometimes Harijan, and published three issues of a magazine, Psyche. Around the time the group obtained land in Nagano Prefecture and on Suwanosejima, "the Tribe" (Buzoku) became their best known name. Starting in December 1967, they published a newspaper, also called Buzoku. Chindougu. Japan spends $144.1 billion a year on research. That's second after the US (although China is about to overtake Japan for second). Japan also has a tradition of chindougu — fake inventions that on the face of it seem like a good idea but in reality are completely silly. Western bloggers sometimes confuse chindogu as being real. Cosplay. Cosplay is the imitation of anime characters via the use of costumes, props, and many other outlets. Cosplay restaurants, are theme restaurants and pubs that originated in Akihabara, Tokyo, Japan, around the year 1999.They include maid cafés and butler cafés, where the service staff dress as elegant maids, or as butlers. -
First (Off)Screenings Pink & Violent: Japanese 70'S
MENSUEL N°118 - février 2010 NE PARAÎT PAS EN Avril BELGIQUE - BELGÏE BUREAU DE DéPÔT : BXL X P. P / P. B 1070 BRUXELLES 1/1392 1070 BRUXELLES P402037 CINÉMA BIOSCOOP #118 04.03 > 21.03.2010 FIRST (OFF)SCREENINGS PINK & VIOLENT: JAPANESE 70’S EXPLOITATION BRUCE BICKFORD: A NIGHT IN THE CAS’L’ JESS FRANCO FELIX KUBIN PRESENTS… NEUE DEUTSCHE WELLE NACHT SPAGHETTI WESTERN 2 www.offscreen.be AmAteurs de cinémA étrAnge et hors du LIEFHEBBERS VAN AUTHENTIEKE, NIET ALLEDAAGSE commun, réjouissez-vous: le progrAmme de EN ONGEWONE CINEMA WORDEN WEER IN cette troisième édition du festivAl offscreen DE WATTEN GELEGD TIJDENS DE DERDE EDITIE est à s’en lécher les doigts ! VAN HET OFFSCREEN FILM FESTIVAL. Le temps de trois longs week-ends, le Nova et l’asbl Marcel vous proposent Drie lange weekends slaan Cinema Nova en vzw Marcel de handen in elkaar om un programme aventureux, un parcours du soleil levant aux grandes plai- u een avontuurlijk programma aan te bieden van onafhankelijke en onuitgegeven nes de l’Ouest. En plus d’un module thématique chaque week-end, nous films, cult klassiekers en “offbeat” genres uit Oost en West. Elk weekend wordt accueillerons des invités et présenterons une dizaine d’avant-premières. Le gelinkt aan een thematische programmamodule of gast en gelardeerd met niet film d’ouverture est “Air Doll”, le retour au fantastique du réalisateur japonais minder dan 10 avant-premières verspreid over het hele festival. Openingsfilm Kore-Eda, et en clôture vous pourrez découvrir “Ordinary People”. Entre les is de nieuwste van regisseur Kore-Eda, “Air Doll”, en afsluiten doen we met het deux, vous serez en bonne compagnie parmi les rednecks white trash (“White minimalistische “Ordinary People”. -
SUBCULTURAS JUVENIS JAPONESAS COMO FORMA DE RESISTÊNCIA FEMININA Marcella Gouvea Martha DRE: 106014066
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO – ECO SUBCULTURAS JUVENIS JAPONESAS COMO FORMA DE RESISTÊNCIA FEMININA Marcella Gouvea Martha DRE: 106014066 Rio de Janeiro 2011 Universidade Federal do Rio de Janeiro Centro de Filosofia e Ciências Humanas Escola de Comunicação – ECO Subculturas Juvenis Japonesas Como Forma de Resistência Feminina Monografia apresentada à Escola de Comunicação da Universidade Federal do Rio de Janeiro, como requisito parcial à obtenção do título de bacharel em Comunicação Social, habilitação em Jornalismo. Marcella Gouvea Martha Orientador: Prof. Dr. Renzo Taddei Rio de Janeiro 2011 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO TERMO DE APROVAÇÃO A Comissão Examinadora, abaixo assinada, avalia a Monografia Subculturas Juvenis Japonesas Como Forma de Resistência Feminina, elaborada por Marcella Gouvea Martha. Monografia examinada: Rio de Janeiro, no dia ........./........./.......... Comissão Examinadora: Orientador: Prof. Dr. Renzo Taddei Doutor em Antropologia pela Columbia University - EUA Profa. Dra. Maria Helena Rêgo Junqueira Doutora em Comunicação pela Escola de Comunicação – UFRJ Profa. Dra. Priscila Kuperman Doutora em Comunicação pela Escola de Comunicação - UFRJ MARTHA, Marcella Gouvea Subculturas Juvenis Japonesas Como Forma de Resistência Feminina. Rio de Janeiro, 2011. Trabalho de conclusão de curso (Graduação em Comunicação Social, habilitação em Jornalismo) - Universidade Federal do Rio de Janeiro, Escola de Comunicação, 2011. Orientador: Renzo Taddei 1. Juventude 2. Subculturas 3. Mulher 4. Tribos I. TADDEI, Renzo (Orient.). II. UFRJ/ECO. III. Título. MARTHA, Marcella Gouvea. Subculturas juvenis japonesas como forma de resistência feminina. Orientador: Renzo Taddei. Rio de Janeiro: ECO/UFRJ, 2011. Monografia (Bacharelado em Comunicação Social, habilitação em Jornalismo) Escola de Comunicação da Universidade Federal do Rio de Janeiro. -
Descargar En
PROYECTO DE GRADUACION Trabajo Final de Grado Influencias de Japón Creación a partir de su aplicación para la moda local Pamela Saidman Cuerpo B del PG 17/09/2015 Diseño Textil y de Indumentaria Creación y Expresión Diseño y producción de objetos, espacios e imágenes Facultad de Diseño y Comunicación Universidad de Palermo 1 Índice Índice de figuras 4 Introducción................................................................................................................... 5 .... Capítulo 1: El desgaste en la moda occidental 12 1.1 Definición del sistema de la moda 12 1.2 Problemáticas en sistema de la moda argentino 14 1.2.1 Las copias y la propiedad intelectual....... 16 1.3 Estudio de casos locales: María Cher y Complot 17 1.4 Acercamiento argentino a la cultura japonesa 23 1.4.1 Anime y manga en Argentina 24 1.4.2 Influencias de la cultura japonesa en las nuevas generaciones 25 Capítulo 2: Oriente y Occidente: concepciones y mentalidad 28 2.1 Sociedad y educación en Japón 30 2.2 El valor de lo diferente 32 2.2.1 Hacia la búsqueda de la individualidad 33 2.3 Cambio de mirada: de Europa y Estados Unidos a Japón 34 Capítulo 3: Contactos entre Japón y Occidente 36 3.1 Apertura de Japón al mundo: Japonismo 36 3.2 Diseñadores Japoneses en Occidente 42 3.3 La influencia de Occidente en Japón 44 3.3.1 Impacto de la Segunda Guerra Mundial en la Indumentaria 46 Capítulo 4: Moda actual en las calles de Japón 49 4.1 Concepto de Kawaii 49 4.2 Harajuku 51 4.3 Estilos en la moda actual de Japón 55 4.3.1 Lolita 56 4.3.2 Gyaru 61 4.3.3 Decora -
LANDA-DISSERTATION-2017.Pdf (4.978Mb)
The Dissertation Committee for Amanda Landa certifies that this is the approved version of the following dissertation: Contemporary Japanese Seishun Eiga Cinema Committee: Lalitha Gopalan, Supervisor Janet Staiger, Co-Supervisor Kirsten Cather Shanti Kumar David Desser Michael Kackman Contemporary Japanese Seishun Eiga Cinema by Amanda Landa Dissertation Presented to the Faculty of the GraduateSchool of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 Acknowledgements The dissertation process is always present and foreboding in one’s graduate career. An always looming presence, the first chapter is always theoretically sketched, perhaps even drafted, but the rest are generally to be filed under “fiction.” The same, of course, happened for me, and throughout this endeavor I have learned to draft, to re-read and edit, and most especially to never be afraid to start over. My primary goal was to hone my writerly voice, to elevate from description into argument and most of all, to slow down. Time and financial pressures are plentiful, and early in the writing process I wanted to rush; to achieve quickly what was later revealed to me something that could not and should not be rushed. I chose to write chapter by chapter as the films and genre categories presented themselves, allowing myself to enjoy each chapter’s research process in small achievable steps. Integral to this process are my co-supervisors, Associate Professor Lalitha Gopalan and Professor Emeritus Janet Staiger. In particular, I want to give thanks for Lalitha’s rigorous mentorship, guidance, and enthusiasm for this project and its films and Janet, a constant mentor, whose patience and attendance to both my writerly and emotional well- being will never be forgotten. -
2013 Program Guide
Keeping track of Anime Boston has never been easier! AVAILABLE FREE FOR: iOS devices Android devices Windows 7 phone devices Blackberry devices FEATURES: HOW TO DOWNLOAD The latest schedule GUIDEBOOK Updated automatically* 1. Download Guidebook from Offline browsing* the Apple App Store or Event schedules Android Marketplace. Maps and floorplans 2. Visit guidebook.com/getit from Exhibitor listing your mobile device and follow Customized schedules the download instructions. Twitter connection 3. Scan the and more! QR code to the right (QR code * A cell signal or wifi connection is required to download reader required). Guidebook and to receive updates. A free wifi signal is available inside the Hynes Convention Center. table of contents 5 Letter from the Con Chair 6 Guests of Honor 17 Events 27 Video Programming 32 Panels & Workshops 41 Artists’ Alley 47 Dealers’ Room 49 Room Directory 51 Maps 58 Where to Eat 67 Tipping Guide 68 Getting Around 69 Convention Policies 74 Sponsors 75 Volunteering 76 Staff 80 Autographs MAY 24–26, 2013 3 4 Anime Boston 2013 LETTER FROM THE CON CHAIR Greetings! On behalf of the New England Anime Society, our honored guests, and the entire Anime Boston staff, it is my honor and pleasure to welcome you to Anime Boston 2013! Last year, we partied hard and celebrated our tenth Anime Boston, and it was fabulous! As was reflected in our end-of-the world theme, we were tentatively planning for it to be our last. After all, wasn't the world supposed to end on 12/21/12? After waking up on the 22nd and realizing that the Earth was still turning, some of us panicked and started holiday shopping while some others among us started planning for the convention. -
Refashioning the Romantics: Contemporary Japanese Culture
REFASHIONING THE ROMANTICS Contemporary Japanese Culture –Aspects of Dress Masafumi Monden A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Design, Architecture and Built Environment University of Technology, Sydney 2011 CERTIFICATE OF AUTHORSHIP/ORIGINALITY I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student __________________________________ Acknowledgements It is such a delight to thank the people who have inspired me and made this dissertation possible. Foremost, I am deeply grateful to my excellent supervisors Peter McNeil and Meredith Jones. Peter’s expansive knowledge and insights have been very inspirational, opening many doors to the realms of dress and design history, which were previously unknown to me. I would like to thank him for the continued guidance and care he has shown, and for giving me many opportunities to explore the wonderland of academics. Meredith’s comprehensive knowledge of cultural studies and gender studies, in turn, has made this thesis much richer in its contents and theoretical perspectives. I am especially grateful for her continued support, enthusiasm, and encouragement since the beginning, and for taking the painful task of editing.