The Rhetorics of Context: an Ethics of Belonging
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WINGS of HONNEAMISE Oe Ohne) 7 Iy
SBP ee TON ag tatUeasai unproduced sequel to THE WINGS OF HONNEAMISE oe Ohne) 7 iy Sadamoto Yoshiyuki © URU BLUE The faces and names you'll need to know forthis installment of the ANIMERICA Interview with Otaking Toshio Okada. INTERVIEW WITH TOSHIO OKADA, PART FOUR of FOUR In Part Four, the conclusion of the interview, Toshio Okada discusses the dubious ad cam- paign for THE WINGS OF HONNEAMISE, why he wanted Ryuichi Sakamotoforits soundtrack, his conceptfor a sequel and the “shocking truth” behind Hiroyuki Yamaga’‘s! Ryuichi Sakamoto Jo Hisaishi Nausicaa Celebrated composer whoshared the Miyazaki’s musical composer on The heroine of whatis arguably ANIMERICA: There’s something I’ve won- Academy Award with David Byrne mostofhis films, including MY Miyazaki’s most belovedfilm, for the score to THE LAST EMPEROR, NEIGHBOR TOTORO; LAPUTA; NAUSICAA OF THE VALLEY OF dered aboutfor a long time. You know,the Sakamotois well known in both the NAUSICAA OF THE VALLEY OF WIND,Nausicaais the warrior U.S. andJapan for his music, both in WIND; PORCO ROSSOand KIKI’S princess of a people wholive ina ads forthe film had nothing to do with the Yellow Magic Orchestra and solo. DELIVERY SERVICE. Rvorld which has been devadatent a 1 re Ueno, Yuji Nomi an a by ecological disaster. Nausicaa actual film! we composedcai eae pe eventually managesto build a better 7 S under Sakamatne dIcelon, life for her people among the ruins . : la etek prcrely com- throughhernobility, bravery and Okada: [LAUGHS] Toho/Towa wasthe dis- pasetiesOyromaltteats U self-sacrifice.. tributor: of THE WINGS OF HONNEAMISE, “Royal SpaceForce Anthem,” and and they didn’t have any know-how,or theSpace,”“PrototypeplayedC’—ofduringwhichthe march-of-“Out, to sense of strategy to deal with< the film.F They Wonthist ysHedi|thefrouaheiation.ak The latest from Gainaxz handle comedy, and comedy anime—what. -
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. -
Fuwaku No Adagio] Friday 8 October at 9:30Pm
AUTUMN ADAGIO [FUWAKU NO ADAGIO] FRIDAY 8 OCTOBER AT 9:30PM A nun going through her menopause might sound like the punch-line of a joke you wouldn’t tell your mum, but Tsuki Inoue’s disarmingly beautiful film Autumn Adagio takes what could have so easily been a premise ripe for exploitation and makes from it a profoundly moving and utterly restrained masterpiece. Mariko, who is first seen absent-mindedly plucking the stamen from a bouquet of lilies, lives a cloistered, routine life. One day, confused by the way she is feeling, she takes a leap of faith and volunteers to play the piano for the local ballet school. Whilst working she becomes entranced by the instructor’s graceful movements in a scene that is both gently surreal and quietly erotic. Although she plays well, the instructor tries to encourage her to put more of herself into the music. Moriko, who has spent her life repressing her sexuality and emotions, decides to let them out for a short time before they are lost forever and we can’t help but be swept along with her new enthusiasm. From then on the film is by turns disturbing, tragic and uplifting as she learns to reengage with the world. More and more we start to see her without her habit, and the change is striking. The tension between religion and sexuality has been explored in many films, but rarely has it been handled with such sensitivity. DB Country Japan Running Time 70 mins Format HDCam Director/Producer/ Screenplay Tsuki Inoue DoP Yosuke Omori Cast Rei Shibakusa, Peyton Chiba, Takuo Shibuya Print Source Dongyu Email [email protected] 104 18TH RAINDANCE FILM FESTIVAL BOYS ON THE RUN [BOIZU ON ZA RAN] FRIDAY 1 OCTOBER AT 6:30PM Boys on the Run stars Kazunobu Mineta (frontman for punk-rock band Ging Nang Boyz) as Tanishi, a 29-year-old virgin stuck in a menial position at a failing company. -
Building Pedagogical Curb Cuts: Incorporating Disability in the University Classroom and Curriculum 4105-11 SU 4/1/05 3:50 PM Page 4
4105-11_SU 4/1/05 3:50 PM Page 3 Building Pedagogical Curb Cuts: Incorporating Disability in the University Classroom and Curriculum 4105-11_SU 4/1/05 3:50 PM Page 4 Copyright 2005© The Graduate School, Syracuse University. For more information about this publication, contact: The Graduate School Syracuse University 423 Bowne Hall Syracuse, New York 13244. 4105-11_SU 4/1/05 3:50 PM Page 5 v Contents Acknowledgements vii Chancellor’s Preface ix Editors’ Introduction xi I. Incorporating Disability in the Curriculum Mainstreaming Disability: A Case in Bioethics 3 Anita Ho Language Barriers and Barriers to Language: Disability 11 in the Foreign Language Classroom Elizabeth Hamilton and Tammy Berberi Including Women with Disabilities in Women and 21 Disability Studies Maria Barile Seeing Double 33 Ann Millett Cinematically Challenged: Using Film in Class 43 Mia Feldbaum and Zach Rossetti “Krazy Kripples”: Using South Park to Talk 67 about Disability Julia White Teaching for Social Change 77 Kathy Kniepmann II. Designing Instruction for Everyone Nothing Special: Becoming a Good Teacher for All 89 Zach Rossetti and Christy Ashby 4105-11_SU 4/1/05 3:50 PM Page 6 vi contents Tools for Universal Instruction 101 Thomas Argondizza “Lame Idea”: Disabling Language in the Classroom 107 Liat Ben-Moshe Learning from Each Other: Syracuse University 117 and the OnCampus Program Cheryl G. Najarian and Michele Paetow III. Students with Disabilities in the Classroom Being an Ally 131 Katrina Arndt and Pat English-Sand Adapting and “Passing”: My Experiences as a 139 Graduate Student with Multiple Invisible Disabilities Elizabeth Sierra-Zarella “We’re not Stupid”: My College Years 147 as a Mentally Challenged Student Anthony J. -
16-18 October 2019 Shanghai New International Expo Center Message from CTJPA President
Visitor Guide E6 16-18 October 2019 Shanghai New International Expo Center Message from CTJPA President Dear participants, On behalf of China Toy & Juvenile Products Association (CTJPA), the organizer of China Toy Expo (CTE), China Kids Expo (CKE), China Preschool Expo (CPE) and China Licensing Expo (CLE), I would like to extend our warmest welcome to all of you and express our sincere thanks for all your support. Launched in 2002, the grand event has been the preferred platform for leading brands from around the world to present their newest products and innovations, connect with customers and acquire new sales leads. In 2019, the show will feature 2,508 global exhibitors, 4,859 worldwide brands, 100,000 professional visitors from 134 countries and regions, showcasing the latest products and most creative designs in 230,000 m² exhibition space. It is not only a platform to boost trade between thousands of Chinese suppliers and international buyers, but also an efficient gateway for international brands to tap into the Chinese market and benefit from the huge market potential. CTJPA has designed the fair as a stage to show how upgraded made-in-China will influence the global market and present worldwide innovative designs and advanced technologies in products. Moreover, above 1800 most influential domestic and international IPs will converge at this grand event to empower the licensing industry. IP owners are offered opportunities to meet with consumer goods manufacturers, agents and licensees from multi-industries to promote brands and expand licensing business in China and even Asia. Whether you are looking to spot trends, build partnerships, or secure brand rights for your products, we have the answer. -
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN). -
Animagazin 1. Sz. (2021. Január 20.)
Téli szezon 2021 Összeállította: Hirotaka Anime szezon 019 2.43: Seiin Koukou Danshi Volley-bu Back Arrow Ex-Arm regény alapján original manga alapján Stúdió: Stúdió: Stúdió: David Production Studio VOLN Visual Flight Műfaj: Műfaj: Műfaj: iskola, sport akció, fantasy, mecha akció, sci-fi, seinen Seiyuuk: Seiyuuk: Seiyuuk: Umehara Yuuichirou, Ono Kenshou, Ozawa Ari, Kitou Akari, Komatsu Mikako Ono Kenshou, Aou Shouta Kaji Yuki Leírás Ajánló Leírás Ajánló Leírás Ajánló Haijima Kimichika röp- Röplabdás anime, Ringarindo területét Egy új mecha sorozat, Natsume Akira egy Már kétszer elhalasz- labdajátékos, visszaköltözik ami nem a Haikyuu. De fal veszi körül, védi és óvja rég láttunk ilyet, a műfaj középsulis diák, akinek csak tott címről van szó, talán Fukuiba, ahol a gyerekkorát hát ki mondta, hogy nem az ott élőket. A fal az isten, rajongói mostanában kicsit az agyát sikerült megmen- most elindul. Nekem hir- töltötte. Itt újra találkozik üthet más a labdába az is- és Ringarindo alapja. el vannak hanyagolva, szó- teni egy tragikus közleke- telen Robotzsaru érzetem egykori barátjával, Kuroba mert cím mellett. Egy re- Egy nap, egy rejtélyes val ez most jól jön. A Studio dési baleset után. Most az lett tőle. Főleg akcióköz- Yunival, akivel egy régi ve- gényadaptációról van szó, férfi, aki Back Arrownak ne- VOLN (Ushio to Tora, Kara- EX-ARM különleges rendőri pontú animének néz ki, sok szekedés miatt romlott meg ami 2015 óta fut. A David vezi magát megjelenik Essha kuri Circus (AniMagazin 50.)) egységgel működik együtt, harccal. Egy 2015-2019 kö- a viszonya. Elkezdik a Seiin Productionról csak annyit faluban. Arrow elvesztette a fogja készíteni, akik eddigi hogy visszaszerezze elve- zött készült mangát adap- középiskolát és csatlakoz- mondok, hogy JoJo és Ha- memóriáját, csak egy dolog- szerény felhozataluk elle- szett emlékeit és testét. -
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 -
Japanese Animation Guide: the History of Robot Anime
Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Addition to the Release of this Report This report on robot anime was prepared based on information available through 2012, and at that time, with the exception of a handful of long-running series (Gundam, Macross, Evangelion, etc.) and some kiddie fare, no original new robot anime shows debuted at all. But as of today that situation has changed, and so I feel the need to add two points to this document. At the start of the anime season in April of 2013, three all-new robot anime series debuted. These were Production I.G.'s “Gargantia on the Verdurous Planet," Sunrise's “Valvrave the Liberator," and Dogakobo and Orange's “Majestic Prince of the Galactic Fleet." Each was broadcast in a late-night timeslot and succeeded in building fanbases. The second new development is the debut of the director Guillermo Del Toro's film “Pacific Rim," which was released in Japan on August 9, 2013. The plot involves humanity using giant robots controlled by human pilots to defend Earth’s cities from gigantic “kaiju.” At the end of the credits, the director dedicates the film to the memory of “monster masters” Ishiro Honda (who oversaw many of the “Godzilla” films) and Ray Harryhausen (who pioneered stop-motion animation techniques.) The film clearly took a great deal of inspiration from Japanese robot anime shows. -
The Question of Algorithmic Personhood and Being
Article The Question of Algorithmic Personhood and Being (Or: On the Tenuous Nature of Human Status and Humanity Tests in Virtual Spaces—Why All Souls Are ‘Necessarily’ Equal When Considered as Energy) Tyler Lance Jaynes Alden March Bioethics Institute, Albany Medical College, Albany, NY 12208, USA; [email protected] Abstract: What separates the unique nature of human consciousness and that of an entity that can only perceive the world via strict logic-based structures? Rather than assume that there is some potential way in which logic-only existence is non-feasible, our species would be better served by assuming that such sentient existence is feasible. Under this assumption, artificial intelligence systems (AIS), which are creations that run solely upon logic to process data, even with self-learning architectures, should therefore not face the opposition they have to gaining some legal duties and protections insofar as they are sophisticated enough to display consciousness akin to humans. Should our species enable AIS to gain a digital body to inhabit (if we have not already done so), it is more pressing than ever that solid arguments be made as to how humanity can accept AIS as being cognizant of the same degree as we ourselves claim to be. By accepting the notion that AIS can and will be able to fool our senses into believing in their claim to possessing a will or ego, we may yet Citation: Jaynes, T.L. The Question have a chance to address them as equals before some unforgivable travesty occurs betwixt ourselves of Algorithmic Personhood and Being and these super-computing beings. -
Applying the Food–Energy–Water Nexus Concept at the Local Scale
ARTICLES https://doi.org/10.1038/s41893-021-00719-1 Applying the food–energy–water nexus concept at the local scale Henry P. Huntington 1 ✉ , Jennifer I. Schmidt2, Philip A. Loring 3, Erin Whitney4, Srijan Aggarwal 5, Amanda G. Byrd4, Subhabrata Dev6, Aaron D. Dotson7, Daisy Huang4, Barbara Johnson8, Justus Karenzi9, Henry J. F. Penn10, AlexAnna Salmon11, Daniel J. Sambor12, William E. Schnabel6, Richard W. Wies Jr9 and Michelle Wilber 4 The food–energy–water (FEW) nexus describes interactions among domains that yield gains or trade-offs when analysed together rather than independently. In a project about renewable energy in rural Alaska communities, we applied this concept to examine the implications for sustainability and resilience. The FEW nexus provided a useful framework for identifying the cross-domain benefits of renewable energy, including gains in FEW security. However, other factors such as transportation and governance also play a major role in determining FEW security outcomes in rural Alaska. Here, we show the implications of our findings for theory and practice. The precise configurations of and relationships among FEW nexus components vary by place and time, and the range of factors involved further complicates the ability to develop a functional, systematic FEW model. Instead, we suggest how the FEW nexus may be applied conceptually to identify and understand cross-domain interactions that contribute to long-term sustainability and resilience. ood, energy and water are essential components of sustain- and the remaining food are transported in by air or water. Part of ability, emphasized as three of the 17 Sustainable Development the initial impetus was to add to practical scholarly understanding FGoals of the United Nations1. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.