Introduction to Anime
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The Anime Paradox
The Anime Paradox The Anime Paradox Patterns and Practices through the Lens of Traditional Japanese Theater By Stevie Suan LEIDEN • BOSTON 2013 Cover illustration: Right image: Fushikizō Mask © Toshiro Morita, the-noh.com (http://www .the-noh.com/); Left image: Yukishiro Tomoe from Rurouni Kenshin OVA: Trust & Betrayal (Tsuiokuhen) © N. Watsuki / Shueisha, Fuji-TV, Aniplex Inc. Images used with permission from rights holders. Library of Congress Cataloging-in-Publication Data Suan, Stevie. The anime paradox : patterns and practices through the lens of traditional Japanese theater / by Stevie Suan. pages cm Includes bibliographical references and index. ISBN 978-90-04-22214-4 (hardback : alk. paper) 1. Theater--Japan--History. 2. Animated films--Japan--History and criticism. 3. Aesthetics, Japanese. I. Title. PN2921.S83 2013 791.43’340952--dc23 2013009251 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISBN 978-90-04-22214-4 (hardback) ISBN 978-90-04-22215-1 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
Use Style: Paper Title
International Journal on Recent and Innovation Trends in Computing and Communication ISSN: 2321-8169 Volume: 4 Issue: 6 494 - 497 ____________________________________________________________________________________________________________________ Study of Manga, Animation and Anime as an Art Form Steena. J. Mathews Department of Master Of Computer Application(MCA) University Of Mumbai Dr.G.D.Pol Foundation YMT College of Management Sector-4 Kharghar, Navi Mumbai-410210, India [email protected] ne 1 (of Affiliation): dept. name of organization Abstract—Manga is from Japanese for comics or whimsical images. Manga grow from combining of Ukiyo-e and from Western style drawing and it’s currently soon after World War II. Part from Manga's covers which is usually issued in black and white. But it is usual to find introductions to chapters to be in color and is read from top to bottom and then right to left, alike to the layout of a Japanese basic text. Anime relates to the animation style developed in Japan. It is characterized by particular characters and backgrounds which are hand drawn or computer generated that visually and confined set it apart from other forms of animation. Plots may include a variety of imaginary or ancient characters, events and settings. Anime is a complex art form that includes various themes, animation styles, messages, and aspects of Japanese culture. Each member will understand the differences in theme, style, animation, and cultural influences between Anime, Manga and American animation. As mass- produced art, anime has a stature and recognition even American animated films, long accepted as a respectable style of film making, have yet to achieve. -
FCC-06-11A1.Pdf
Federal Communications Commission FCC 06-11 Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of Competition ) MB Docket No. 05-255 in the Market for the Delivery of Video ) Programming ) TWELFTH ANNUAL REPORT Adopted: February 10, 2006 Released: March 3, 2006 Comment Date: April 3, 2006 Reply Comment Date: April 18, 2006 By the Commission: Chairman Martin, Commissioners Copps, Adelstein, and Tate issuing separate statements. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 1 A. Scope of this Report......................................................................................................................... 2 B. Summary.......................................................................................................................................... 4 1. The Current State of Competition: 2005 ................................................................................... 4 2. General Findings ....................................................................................................................... 6 3. Specific Findings....................................................................................................................... 8 II. COMPETITORS IN THE MARKET FOR THE DELIVERY OF VIDEO PROGRAMMING ......... 27 A. Cable Television Service .............................................................................................................. -
Contour Stream Player for Field
Quick Reference Guide: Field and Dispatch Contour Stream Player for Field Contour Stream Player Overview Customer Education • The Contour Stream Player is a device that allows customers to Demonstrate how to use the equipment: watch the most popular streaming content like Netflix, YouTube, and Amazon Prime Video on their TV – without switching inputs or apps • Turn on the set top box. It should display the main menu pictured • Utilize the Wireless 4K Contour Stream Player for all new installs below. Eligible customers: • Using the voice remote, test the YouTube app by saying “YouTube • For new and existing Cox Internet subscribers who take Panoramic Cox Communications How to buy movies and TV shows on Contour WiFi TV” o Hardware: PW3 or PW6 with the Wireless 4K Contour • Test Video on Demand Stream Player only (requires CHSI) • Note: Technicians will be unable to test live linear channels/Focus • Current Contour 2 customers can downgrade to Contour Stream on the Contour button, Apps, and On Demand Services Player (retention only) and need to swap for the Wireless 4k Contour Stream Player. OTT Apps SVODs Netflix Outside TV Amazon Prime DogTV Differences in Installation: Contour 2 and Contour Stream Player YouTube Baby/Kid Genius YouTube Kids Stingray Karaoke iHeart Radio Gaiam TV Fit & Yoga • Follow BAU installation process for IPTV/cDVR NPR One KidStream ESPN 3 Curiosity Stream • Technician must put a MoCA filter on the Demarc or point of entry Tubi TV Up Faith & Family • MoCA should be auto-enabled when an Wireless 4K Contour Stream Anime Network Player is active OnDemand Eros Now! Movie Rentals Too Much for TV • Techs cannot swap Wireless Contour Stream Players for wired Movie Purchase Here TV Contour Receivers during a new install. -
Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation
Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Tuomas Sibakov Master’s Thesis East Asian Studies Faculty of Humanities University of Helsinki November 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Faculty of Humanities East Asian Studies Opintosuunta – Studieinriktning – Study Track East Asian Studies Tekijä – Författare – Author Tuomas Valtteri Sibakov Työn nimi – Arbetets titel – Title Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Työn laji – Arbetets art – Level Aika – Datum – Month and Sivumäärä– Sidoantal – Number of pages Master’s Thesis year 83 November 2020 Tiivistelmä – Referat – Abstract In this work I examine how imōto-moe, a recent trend in Japanese animation and manga in which incestual connotations and relationships between brothers and sisters is shown, contributes to the sexualization of girls in the Japanese society. This is done by analysing four different series from 2010s, in which incest is a major theme. The analysis is done using visual analysis. The study concludes that although the series can show sexualization of drawn underage girls, reading the works as if they would posit either real or fictional little sisters as sexual targets. Instead, the analysis suggests that following the narrative, the works should be read as fictional underage girls expressing a pure feelings and sexuality, unspoiled by adult corruption. To understand moe, it is necessary to understand the history of Japanese animation. Much of the genres, themes and styles in manga and anime are due to Tezuka Osamu, the “god of manga” and “god of animation”. From the 1950s, Tezuka was influenced by Disney and other western animators at the time. -
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. -
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. -
Alors Quel Sera Le Catalogue Proposé En France ? Mais Alors Que Contiendra-T-Il Exactement ?
Comment ajouter l’application Netflix sur n’importe quelle TV Home » Catalogue Netflix des films et séries TV en France La solution pour régler le problème entre Netflix et OVH 7 mars 2016 Logo Netflix Netflix vous paye 4000$ pour prendre des photos #grammasters 2 mars 2016 Comment ajouter l’application Netflix Personne ne peut nier que le royaume du streaming sur n’importe quelle TV aujourd’hui a bouleversé l’univers de toutes les 11 février 2016 tranches d’âges en nous faisant tous plonger dans les tunnels de l’extraordinaire afin de nous faire Bande annonce de la série Marseille découvrir son autre monde, son monde magique qui 22 janvier 2016 a vu défiler en son sein tout ce que la planète compte de films universels et de séries télévisées extrêmement attractives. Et dans ce contexte on Janvier 2016 : Calendrier des sorties peut faire appel à l’exemple de l’entreprise sur Netflix France américaine fondée en 1997 de vidéo à la demande 8 janvier 2016 en illimité, Netflix, qui fait le buzz en ce moment en occupant particulièrement la une de la plupart des médias à l’occasion de son arrivée sur les écrans de l’Hexagone pour le 15 septembre prochain en France. Une entrée magistrale dans le paysage audiovisuel français qui ne fait pas l’unanimité, loin de là, et qui soulève de nombreuses questions, de concurrence certes, mais également à propos du catalogue que va offrir ce géant américain. Alors quel sera le catalogue proposé en France ? En effet, Netflix s’est toutefois montré beaucoup plus flou sur la question du contenu français mais cependant Reed Hastings le PDG de Netflix affirma que son entreprise respectera bien la chronologie des médias et à ce titre ne proposera pas un catalogue aussi étoffé que celui des États-Unis, du Canada ou même du Royaume-Uni puisqu’il appliquera sa stratégie habituelle qui consiste à démarrer avec un bon catalogue de contenu qu’il améliorera mois après mois pour arriver à un excellent catalogue et déclara qu’il n’a jamais proposé un catalogue exhaustif le jour du lancement . -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
Knights of Sidonia Vol. 5 Online
erfpQ [Online library] Knights of Sidonia Vol. 5 Online [erfpQ.ebook] Knights of Sidonia Vol. 5 Pdf Free Tsutomu Nihei DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #154303 in eBooks 2015-12-08 2015-12-08File Name: B00J6Y9AMK | File size: 40.Mb Tsutomu Nihei : Knights of Sidonia Vol. 5 before purchasing it in order to gage whether or not it would be worth my time, and all praised Knights of Sidonia Vol. 5: 1 of 1 people found the following review helpful. Tanikaze, what happened to your face?By Jamil BhattiAre you really wondering if these are still good after five installments? OF COURSE! In what is rapidly becoming one of my favorite series, Nihei again puts out another solid, epic science fiction manga. The quality of the storytelling is what most consistently impresses me, each volume is full of plot revelations and unexpected developments. I hope this series can continue for some time, there doesn’t seem to be any shortage of great ideas in here. If you’ve loved the previous issues then of course you need this one - my only regret is that I didn’t discover Nihei’s work soon enough to get his Blame! series before it went out of print, don’t let that happen with this one!0 of 0 people found the following review helpful. Just order the next volume too!By Steve MontThis series just keeps becoming more and more complex and entertaining and beautiful. Do yourself a favor and order volume 6 as well because you are going to want to pick it up IMMEDIATELY after the last page of this volume.0 of 0 people found the following review helpful. -
Fall 2011 FSCP 81000 – Film History II
Fall 2011 FSCP 81000 – Film History II, Professor Paula Massood, Wednesday, 2:00-6:00pm, Room C-419, 3 credits [15907] Cross listed with THEA 71600/ART 79500/MALS 76300 This course is devoted to intensive analysis of the international development of cinema as a medium and art form from the early sound years (1930 onward) to the present. We will concentrate on major film tendencies and aesthetic and political developments through a close examination of individual film texts. Subjects covered will include Hollywood filmmaking during the Depression years, French Poetic Realism, Italian Neorealism, melodrama and other postwar Hollywood genres, the rise of global "new waves" (including French, Latin American, and German filmmaking movements from the late-1950s through the 1970s) and modernist tendencies in international cinema. We will also examine the rise of American independent filmmaking, recent global cinema trends, and the effects of new digital technologies on visual and narrative aesthetics. Emphasis will be placed on the major historical currents of each period and on changes in aesthetic, political and industrial context. Required Texts: Required: David A. Cook. A History of Narrative Film. 3rd ed. New York: Norton, 1996. Available through the GC Virtual Bookshop. Scheduled films and supplemental readings ® are on reserve in the library. Recommended books and additional films are listed in the syllabus, available in the Certificate Programs office (Room 5110). Please note: Students are not required to purchase recommended texts or view all the suggested films. Course Requirements: Writing Assignments: 1) 8pp. essay on prearranged topic. (40%) 2) 15pp. final essay on topic of choice.