Lupin Stampe Su Vetro Pag

Total Page:16

File Type:pdf, Size:1020Kb

Lupin Stampe Su Vetro Pag europrint.it europrint.it Modern Modern Italian Style Factory Distributed by SalvadoriCornici Via della Libertà, 2 - 31027 Spresiano (TV) Italy T +39 0422 881014 - F +39 0422 881957 [email protected] - www.salvadoriarte.com www.salvadoriarte.com Take time to think differently Take time to think differently Astratti pag. 07 Lips Vintage Chic pag. 50 pag. 52 Cover Lupin Stampe su vetro pag. 78 pag. 84 Photogallery City & Landascapes Shoot muy city pag. 114 New York Hats pag. 36 pag. 46 Diabolik Lupin III pag. 58 pag. 68 POP Art Vintage pag. 92 pag. 102 City & Landascapes Animals pag. 114 pag. 162 ... 6 7 SG612A7590D PC0388 Decorato a mano su Tela 200x70 cm. (misure disponibili) 8 SG222A7590D PC0298 SG262A7590D PC0548 Decorato a mano su Tela 140x70 cm. Decorato a mano su Tela 200x100 cm. (misure disponibili) (misure disponibili) 9 SG622A7590D PC0388 Decorato a mano su Tela 120x120 cm. (misure disponibili) 10 SG622A7591D PC0388 Decorato a mano su Tela 120x120 cm. (misure disponibili) SG612A7591D PC0388 Decorato a mano su Tela 200x70 cm. (misure disponibili) 11 SG222A7591D PC0298 SG262A7591D PC0548 Decorato a mano su Tela 140x70 cm. Decorato a mano su Tela 200x100 cm. (misure disponibili) (misure disponibili) 12 SG222A7593D PC0298 SG262A7593D PC0548 Decorato a mano su Tela 140x70 cm. Decorato a mano su Tela 200x100 cm. (misure disponibili) (misure disponibili) SG112A7593D PC0266 Decorato a mano su Tela 150x50 cm. (misure disponibili) 13 SG622A7593D PC0388 Decorato a mano su Tela 120x120 cm. (misure disponibili) SG222A7594D PC0298 SG262A7594D PC0548 Decorato a mano su Tela 140x70 cm. Decorato a mano su Tela 200X100 cm. (misure disponibili) (misure disponibili) 14 SG222A7589D PC0298 Decorato a mano su Tela 140x70 cm. (misure disponibili) 15 SG222A7595D PC0298 Decorato a mano su Tela 140x70 cm. (misure disponibili) SE221A3056 PC0324 SE261A3056 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 16 SE221A3069 PC0324 SE261A3069 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 17 SE221A3055 PC0324 SE261A3055 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. SE221A3064 PC0324 Dipinto su Tela 140x70 cm. 18 SE221A3062 PC0324 Dipinto su Tela 140x70 cm. SE221A3065 PC0324 Dipinto su Tela 140x70 cm. 19 SE221A3063 PC0324 Dipinto su Tela 140x70 cm. SE221A3066 PC0324 Dipinto su Tela 140x70 cm. 20 SE221A3067 PC0324 Dipinto su Tela 140x70 cm. 21 SE221A3068 PC0324 SE261A3068 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. SE221A3160 PC0324 SE261A3160 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 22 SE221A3161 PC0324 SE261A3161 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 22 SE221A3162 PC0324 SE261A3162 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 23 SE221A3163 PC0324 SE261A3163 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 23 24 SE221A3059 PC0324 SE261A3059 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. SE221A3057 PC0324 Dipinto su Tela 140x70 cm. 25 SE221A3058 PC0324 Dipinto su Tela 140x70 cm. 26 SE221A5341 PC0324 SE261A5341 PC0548 Dipinto su Tela 140x70 cm. Dipinto su Tela 200x100 cm. 27 SE261A5343 PC0548 SE221A5343 PC0324 Dipinto su Tela 200x100 cm. Dipinto su Tela 140x70 cm. SE231A5367 PC0398 Dipinto su Tela 150x100 cm 28 SE231A5368 PC0398 Dipinto su Tela 150x100 cm. SE221A5365 PC0288 Dipinto su Tela 140x70 cm. 29 SE221A5366 PC0288 Dipinto su Tela 140x70 cm. 30 SF222A7586R PC0288 Ritoccato a mano su Tela 140x70 cm. 31 SF222A7585R PC0288 Ritoccato a mano su Tela 140x70 cm. 32 SF222A7596R PC0288 Ritoccato a mano su Tela 140x70 cm. SF222A7597R PC0288 Ritoccato a mano su Tela 140x70 cm. 33 SF132A7598R PC0208 SF132A7599R PC0208 Ritoccato a mano su Tela 80x80 cm. Ritoccato a mano su Tela 80x80 cm. SG262_7525 © SALVADORIARTE 2012 © SALVADORIARTE 34 SG222V7525 PC0218 Stampato su Tela 140x70 cm. (misure disponibili) 35 SG222V7519 PC0218 Stampato su Tela 140x70 cm. (misure disponibili) 36 SG223V8927 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) Canvas New York The city that never sleeps 37 SG223V8918 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) © Foto in licenza esclusiva per SalvadoriArte 38 SG113V8919 PC0179 Stampato su Seta 150x50 cm. (misure disponibili) 39 SG223V8920 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) © Foto in licenza esclusiva per SalvadoriArte SG223V8921 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) 40 SG113V8922 PC0179 Stampato su Seta 150x50 cm. (misure disponibili) SG223V8923 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) 41 SG223V8924 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) © Foto in licenza esclusiva per SalvadoriArte 42 SG223V8925 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) 43 SG223V8926 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) © Foto in licenza esclusiva per SalvadoriArte © SALVADORIARTE 2012 © SALVADORIARTE SG223V7520 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) 44 SG223V7517 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) SG223V7558 PC0218 SG222V7558D PC0298 Stampato su Seta 140x70 cm. Decorato a mano con Swarovsky originali su stampa su cotone 140x70 cm. (misure disponibili) (misure disponibili) 45 SG223V7527 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) SG233V7511 PC0298 Stampato su Seta 150x100 cm. (misure disponibili) 46 SG233V7512 PC0298 Stampato su Seta 150x100 cm. (misure disponibili) Hats & lips SG233V7507 PC0298 Stampato su Seta 150x100 cm. TM & © Warner Bros. Entertainment Inc. (s12) Bros. TM & © Warner (misure disponibili) 47 SG233V7613 PC0298 Gruppi dimensioni: Stampato su Seta 150x100 cm. 40x40, 50x50, 50x70, 80x120, 40x80, 50x100, 60x120 30x90, 40x120, 80x80, 100x100 cm 100x150 cm 70x140, 100x200 cm 50x150 cm (misure disponibili) 48 SG233V7614 PC0298 Stampato su Seta 150x100 cm. (misure disponibili) 49 SG233V7615 PC0298 Stampato su Seta 150x100 cm. (misure disponibili) SG232V7616 PC0298 Stampato su Cotone 150x100 cm. (misure disponibili) 50 SG232V7617 PC0298 Stampato su Cotone 150x100 cm. (misure disponibili) SG232V7618 PC0298 Stampato su Cotone 150x100 cm. (misure disponibili) 51 SG232V7619 PC0298 Stampato su Cotone 150x100 cm. (misure disponibili) SG143V7646 PC0218 SG142V7646D PC0298 Stampato su Seta 120x80 cm. Decorato a mano su Tela 120x80 cm. 52 (misure disponibili) (misure disponibili) SG223A7641 PC0218 Stampato su Seta 140x70 cm. (misure disponibili) SG232A7641D PC0298 Decorato a mano su Tela 140x70 cm. (misure disponibili) Vintage Chic 53 SG143V7634 PC0218 Stampato su Seta 120x80 cm. (misure disponibili) SG142V7634D PC0298 Decorato a mano su Tela 120x80 cm. (misure disponibili) SG143A7632 PC0218 Stampato su Seta 120x80 cm. (misure disponibili) SG142A7632D PC0298 Decorato a mano su Tela 120x80 cm. (misure disponibili) 54 SG143A7635 PC0218 Stampato su Seta 120x80 cm. (misure disponibili) SG142A7635D PC0298 Decorato a mano su Tela 120x80 cm. (misure disponibili) SG143A7633 PC0218 Stampato su Seta 120x80 cm. (misure disponibili) SG142A7633D PC0298 Decorato a mano su Tela 120x80 cm. (misure disponibili) 55 SG143A7636 PC0218 Stampato su Seta 120x80 cm. (misure disponibili) SG142A7636D PC0298 Decorato a mano su Tela 120x80 cm. (misure disponibili) 56 SG143A7637 PC0218 SG142A7637D PC0298 Stampato su Seta 120x80 cm. Decorato a mano su Tela 120x80 cm. (misure disponibili) (misure disponibili) 57 SG143A7630 PC0218 SG142A7630D PC0298 Stampato su Seta 120x80 cm. Decorato a mano su Tela 120x80 cm. (misure disponibili) (misure disponibili) Il primo numero, uscito il 1º novembre 1962 portava il titolo Il re del terrore. Diabolik è un ladro spietato e quasi sempre vincente. 58 Fidanzato inizialmente con Elisabeth Gay, nel terzo numero della serie incontra la bellissima Eva Kant, che diventerà la sua compagna di vita; il loro costante scopo è rubare denaro e gioielli. Non si fanno scrupoli morali, in quanto spesso le vittime sono ricche famiglie, banche o altri personaggi criminalmente arricchiti. Agiscono sempre con estrema sicurezza e freddezza. Il ricavato serve per vivere una vita agiata e per finanziare i nuovi e sofisticati metodi per le future rapine, spesso tecnologicamente al limite dell’irreale ma di grande impatto emotivo. SF113V8601 PC0198 Stampato su Seta 150x50 cm. (misure disponibili) Diabolik 59 DIABOLIK © ASTORINA SRL 60 SF113V8603 PC0198 SF113V8602 PC0114 Stampato su Seta 50x150 cm. Stampato su Seta 50x150 cm. (misure disponibili) (misure disponibili) Diabolik Stampati su seta 61 SF133V8604 PC0168 Stampato su Seta 80x80 cm. (misure disponibili) DIABOLIK © ASTORINA SRL 62 SF133V8607 PC0168 Stampato su Seta 80x80 cm. (misure disponibili) Diabolik Stampati su seta 63 SF133V8605 PC0168 SF133V8606 PC0168 Stampato su Seta 80x80 cm. Stampato su Seta 80x80 cm. (misure disponibili) (misure disponibili) DIABOLIK © ASTORINA SRL L L R R S S A A IN IN R R O O T T S S A A © © IK IK L L O O B B IA IA D D 64 ST106A9191 PC064 ST106A9192 PC064 L R S A IN R O T S A © IK L O B IA D ST106A9193 PC064 ST106A9194 PC064 Orologi 65 DIABOLIK © ASTORINA SRL SV30J8603 PC029,90 Dimensione interna 25x15 cm. 66 SV30J8602 PC029,90 Dimensione interna 25x15 cm. Svuotatasche SV20J8606 PC024,90 Dimensione interna 15x15 cm. 67 SV20J8607 PC024,90 Dimensione interna 15x15 cm. SV30J8601 PC029,90 SV20J8604 PC024,90 Dimensione interna 15x15 cm. Dimensione interna 25x15 cm. DIABOLIK © ASTORINA SRL Lupin III Lupin III debutta il 10 agosto 1967 sulle pagine di Weekly Manga Action, una rivista settimanale della Futabasha. Il suo autore è Kazuhiko Kat, un mangaka che diventerà famoso col nome
Recommended publications
  • Protoculture Addicts
    PA #88 // CONTENTS PA A N I M E N E W S N E T W O R K ' S ANIME VOICES 4 Letter From The Publisher PROTOCULTURE¯:paKu]-PROTOCULTURE ADDICTS 5 Page 5 Editorial Issue #88 (Summer 2006) 6 Contributors Spotlight SPOTLIGHTS 98 Letters 25 BASILISK NEWS Overview Character Profiles 8 Anime Releases (R1 DVDs) Story Primer 10 Related Products Releases Shinobi: The live-action movie 12 Manga Releases By Miyako Matsuda & C.J. Pelletier 17 Anime & Manga News 32 URUSEI YATSURA An interview with Robert Woodhead MANGA PREVIEW An Introduction By Zac Bertschy & Therron Martin 53 ES: Eternal Sabbath 35 VIZ MEDIA ANIME WORLD An interview with Alvin Lu By Zac Bertschy 73 Convention Guide 78 Interview ANIME STORIES Hitoshi Ariga 80 Making The Band 55 BEWITCHED AGNES 10 Tips from Full Moon on Becoming a Popstar Okusama Wa Maho Shoujo 82 Fantasia Genre Film Festival By Miyako Matsuda & C.J. Pelletier Sample fileKamikaze Girls 58 BLOOD + The Taste Of Tea By Miyako Matsuda & C. Macdonald 84 The Modern Japanese Music Database Part 35: Home Page 19: Triceratops 60 ELEMENTAL GELADE By Miyako Matsuda REVIEWS 63 GALLERY FAKE 86 Books Howl’s Moving Castle Novel By Miyako Matsuda & C.J. Pelletier Le Guide Phénix Du Manga 65 GUN SWORD Love Hina, Novel Vol. 1 By Miyako Matsuda & C.J. Pelletier 87 Live-Action Lorelei 67 KAMICHU! 88 Manga Kamisama Wa Chugakusei 90 Related Products By Miyako Matsuda CD Soundtracks 69 TIDELINE BLUE Otaku Unite! By Miyako Matsuda & C.J. Pelletier 91 Anime More on: www.protoculture-mag.com & www.animenewsnetwork.com 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ LETTER FROM THE PUBLISHER A N I M E N E W S N E T W O R K ' S PROTOCULTUREPROTOCULTURE¯:paKu]- ADDICTS Over seven years of writing and editing anime reviews, I’ve put a lot of thought into what a Issue #88 (Summer 2006) review should be and should do, as well as what is shouldn’t be and shouldn’t do.
    [Show full text]
  • Hand in Hand: Kouno Fumiyos Mangaserie KONO SEKAI NO
    Repositorium für die Medienwissenschaft Jaqueline Berndt Hand in Hand: Kouno Fumiyos Mangaserie KONO SEKAI NO KATASUMI NI (IN THIS CORNER OF THE WORLD) im Vergleich zur Anime-Adaptation durch Katabuchi Sunao 2018 https://doi.org/10.25969/mediarep/11961 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Berndt, Jaqueline: Hand in Hand: Kouno Fumiyos Mangaserie KONO SEKAI NO KATASUMI NI (IN THIS CORNER OF THE WORLD) im Vergleich zur Anime-Adaptation durch Katabuchi Sunao. In: Hans-Joachim Backe, Julia Eckel, Erwin Feyersinger u.a. (Hg.): Ästhetik des Gemachten: Interdisziplinäre Beiträge zur Animations- und Comicforschung. Berlin: de Gruyter 2018, S. 53–84. DOI: https://doi.org/10.25969/mediarep/11961. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.1515/9783110538724-004 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Jaqueline Berndt Hand in Hand Kouno Fumiyos Mangaserie Kono sekai no katasumi ni (In This Corner of the World) im Vergleich zur Anime- Adaptation durch Katabuchi Sunao Abstract: Die Charakterisierung von Manga und Anime als superflach tendiert dazu, die materiale Dimension ihrer Gemachtheit zu übersehen. Während Ge- machtheit im Sinne von Stilisierung, Hypermedialität und parodischer Intertex- tualität zunehmend Aufmerksamkeit findet, sind die Beharrlichkeit des Hand- werks, die Rolle der Handzeichnung und die Vorliebe für ein analoges Erscheinungsbild bislang kaum hinsichtlich ihrer medienästhetischen Konse- quenzen diskutiert worden.
    [Show full text]
  • Kouno Fumiyo's Hiroshima Manga
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ateneo de Manila University: Journals Online Takeuchi / Kouno Fumiyo’s Hiroshima Manga 243 KOUNO FUMIYO’S HIROSHIMA MANGA: A Style-Centered Attempt at Re-Reading Takeuchi Miho Graduate School of Manga, Kyoto Seika University [email protected] Abstract Kouno Fumiyo’s graphic narratives about Hiroshima, beginning with Yūnagi no machi, sakura no kuni (Town of Evening Calm, Country of Cherry Blossoms, 2004), have drawn attention as a new kind of A-bomb manga, but they have also met with harsh criticism by historians who privilege story and representational content when approaching manga. Against their charge of a lack of criticality, this review article highlights the critical potential of Kouno’s graphic narratives by focusing on how comics-specific style, especially paneling and linework, affects both narrative content and the act of reading. Kouno’s works exhibit a number of pecularities, ranging from what is drawn inside individual panels to the materiality of the line work marked, among other things, by the motif of the hand. The article demonstrates how these stylistic contrivances prompt not only re-reading, or revisiting both specific manga images and the represented past, but that they also allow for ‘touching’ the past. With respect to the latter, the article maintains, that Kouno’s manga promote a bodily kind of historical memory that implies an alternative to the exclusive concentration on thematic representation and ideological content. With respect to manga, the article emphasizes that critical potential arises to a significant extent from specific acts of reading facilitated by specific stylistic means.
    [Show full text]
  • TMS Announces LUPIN the 3Rd Part 5, the Most Recognized Japanese
    N E W S R E L E A S E April 2, 2018 TMS Entertainment USA, Inc. TMS Announces LUPIN THE 3rd Part 5, the Most Recognized Japanese Animation TV Series, Will Debut on Crunchyroll on April 3rd Los Angeles, CA – April 2, 2018 – TMS Entertainment USA announces that the latest installment of the LUPIN THE 3rd series, LUPIN THE 3rd Part 5, will launch on Crunchyroll on April 3rd, simultaneously with Japan’s broadcast. It will be streamed with the original Japanese audio and English subtitles. LUPIN THE 3rd Part 5 (24 x 30-minute episodes) is going to reveal the secret life story of how Lupin III came to be the world’s greatest thief. Lupin III, grandson of the infamous phantom thief Arsène Lupin, is a notorious thief who never fails in taking what he targets. Lupin works along with Daisuke Jigen, Goemon Ishikawa, and Fujiko Mine. Despite dealing against Inspector Zenigata, who has dedicated his life to capturing Lupin, they continue to swiftly take their targeted treasures. The series will be based in France, focusing on Lupin’s roots and origin, something that has been kept a mystery for 50 years…until now! LUPIN THE 3rd is one of the most well-known animated TV series in Japanese history. It began as a Japanese Manga series written and illustrated by Monkey Punch in 1967. The series follows the escapades of master thief Arsène Lupin III, the grandson of Arsène Lupin, the gentleman thief of Maurice Leblanc's series of novels. The TV series followed in 1971, with the broadcast starting on Japanese TV and becoming a very popular, long airing show.
    [Show full text]
  • From the Japanese Traditional Edo Culture to Anime and Manga Takuji
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kwansei Gakuin University Repository 1 Kwansei Gakuin University Social Sciences Review Vol.19, 2014 Nishinomiya, Japan Roots of Cool Japan: From the Japanese Traditional Edo Culture to Anime and Manga Takuji OKUNO Japan’s transition from making things to making tales Japanese popular culture, known as “Cool Japan,” includes animations, comics, video games, figures, and J-pops that are highly acclaimed in Europe and the United States as well as throughout Asia. From the 1970s to the 1980s, Japan gained confidence in its ability to “make things” because consumers around the world embraced its manufactured products such as electric home appliances and automobiles with open arms in preference to the products of other advanced countries. However, at the beginning of the Heisei era, the bubble in the Japanese economy suddenly burst and Japan’s gross national product (GNP) plummeted, resulting in what is termed “the burst of economic bubble of 1990.” Relatively cheaper manufactured products from other Asian countries gained precedence over Japanese products. In response, many Japanese manufacturers moved their production plants to other Asian countries, particularly settling in mainland China, where labor costs were lower than in Japan. The recession was protracted and the Japanese people suffered from a sense low confidence in their abilities to overcome the recession. By the late 1990s, Prime Ministers Mori and, subsequently, Koizumi responded to Japanese political leader Heizo Takenaka’s advocacy of an information technology (IT) revolution in Japan as a way to beat the recession.
    [Show full text]
  • Portrayals of Police and Crime in Japanese Anime and Manga
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository ALL THE EVIL OF GOOD: PORTRAYALS OF POLICE AND CRIME IN JAPANESE ANIME AND MANGA By Katelyn Mitchell Honors Thesis Department of Asian Studies University of North Carolina at Chapel Hill April 23, 2015 Approved: INGER BRODEY (Student’s Advisor) 1 “All the Evil of Good”: Portrayals of Police and Crime in Japanese Anime and Manga By Katelyn Mitchell “Probity, sincerity, candor, conviction, the idea of duty, are things that, when in error, can turn hideous, but – even though hideous, remain great; their majesty, peculiar to the human conscience, persists in horror…Nothing could be more poignant and terrible than [Javert’s] face, which revealed what might be called all the evil of good” -Victor Hugo, Les Misérables Volume I, Book VIII, Chapter III: “Javert Satisfied” Abstract This thesis examines and categorizes the distinct, primarily negative, portrayals of law enforcement in Japanese literature and media, beginning with its roots in kabuki drama, courtroom narratives and samurai codes and tracing it through modern anime and manga. Portrayals of police characters are divided into three distinct categories: incompetents used as a source of comedy; bland and consistently unsuccessful nemeses to charismatic criminals, used to encourage the audience to support and favor these criminals; or cold antagonists fanatically devoted to their personal definition of ‘justice’, who cause audiences to question the system that created them. This paper also examines Western influences, such as Arthur Conan Doyle’s Sherlock Holmes and Victor Hugo’s Inspector Javert, on these modern media portrayals.
    [Show full text]
  • Sample File CONTENTS 3 PROTOCULTURE ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ✾ PRESENTATION
    Sample file CONTENTS 3 PROTOCULTURE ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ✾ PRESENTATION .......................................................................................................... 4 NEWS STAFF ANIME & MANGA NEWS: Japan / North America ................................................................. 5, 9 Claude J. Pelletier [CJP] — Publisher / Manager ANIME RELEASES (VHS / DVD) & PRODUCTS (Live-Action, Soundtracks, etc.) .............................. 6 Miyako Matsuda [MM] — Editor / Translator MANGA RELEASES / MANGA SELECTION ................................................................................. 7 Martin Ouellette [MO] — Editor JAPANESE DVD (R2) RELEASES .............................................................................................. 9 NEW RELEASES ..................................................................................................................... 10 Contributing Editors Aaron K. Dawe, Keith Dawe, Neil Ellard Kevin Lillard, Gerry Poulos, James S. Taylor REVIEWS THE TOP SHELF ..................................................................................................................... 16 Layout MANGA Etc. ........................................................................................................................ 17 The Safe House MODELS .............................................................................................................................. 26 ANIME ................................................................................................................................
    [Show full text]
  • Portrayals of Police and Crime in Japanese Anime and Manga
    ALL THE EVIL OF GOOD: PORTRAYALS OF POLICE AND CRIME IN JAPANESE ANIME AND MANGA By Katelyn Mitchell Honors Thesis Department of Asian Studies University of North Carolina at Chapel Hill April 23, 2015 Approved: INGER BRODEY (Student’s Advisor) 1 “All the Evil of Good”: Portrayals of Police and Crime in Japanese Anime and Manga By Katelyn Mitchell “Probity, sincerity, candor, conviction, the idea of duty, are things that, when in error, can turn hideous, but – even though hideous, remain great; their majesty, peculiar to the human conscience, persists in horror…Nothing could be more poignant and terrible than [Javert’s] face, which revealed what might be called all the evil of good” -Victor Hugo, Les Misérables Volume I, Book VIII, Chapter III: “Javert Satisfied” Abstract This thesis examines and categorizes the distinct, primarily negative, portrayals of law enforcement in Japanese literature and media, beginning with its roots in kabuki drama, courtroom narratives and samurai codes and tracing it through modern anime and manga. Portrayals of police characters are divided into three distinct categories: incompetents used as a source of comedy; bland and consistently unsuccessful nemeses to charismatic criminals, used to encourage the audience to support and favor these criminals; or cold antagonists fanatically devoted to their personal definition of ‘justice’, who cause audiences to question the system that created them. This paper also examines Western influences, such as Arthur Conan Doyle’s Sherlock Holmes and Victor Hugo’s Inspector Javert, on these modern media portrayals. It also examines the contradictions between these negative, antagonistic characters and existing facts and statistics – Japan’s low crime rate and generally high reports of civilian satisfaction with the police.
    [Show full text]
  • LUPIN the 3Rd & YOU!
    LUPIN THE 3rd & YOU! A primer by Tom Farro (@FomTarro) So, you wanna watch Lupin the 3rd? Good choice. With 50 years of production in the reserve, you’ll never run out of stuff to watch. On the flip-side, there’s 50 years worth of stuff to watch, and it’s kind of a minefield out there. As with anything that gets passed around from director to director, quality and interpretation vary wildly with incarnation, so here’s a primer on what’s good. First, some background. Lupin the 3rd originated as a manga in 1967 by a man with the pen name of Monkey Punch, and is basically wild fanfiction continuing a series of french novels originally penned by Maurice Leblanc in 1905. Leblanc’s novels featured the character of Arsene Lupin (the first) who invented the “gentleman thief” trope. Meanwhile, Monkey Punch’s series revolves around these five dumbass characters, who are as follows: ● Arsene Lupin III: Grandson of the famous french thief Arsene Lupin (the first), ​ he has a habit of leaving calling cards and warning his victims well in advance. Still, he always gets what he’s after. ● Daisuke Jigen: Lupin’s right-hand man. Good with a gun, great with a gun. ​ Really, guns are his core competency. ● Goemon Ishikawa XIII: Introduced into the original manga to make it feel more ​ Japanese (I am not joking), he’s stoic and also a samurai in the 20th century. Ancestor of the 1500s-era folk-hero of the same name. ● Fujiko Mine: The classic femme-fatale trope cranked up to 11.
    [Show full text]
  • Zenith Unveils the Second Edition of the Chronomaster Revival Lupin the Third at the Opening of Its Ginza Boutique
    ZENITH UNVEILS THE SECOND EDITION OF THE CHRONOMASTER REVIVAL LUPIN THE THIRD AT THE OPENING OF ITS GINZA BOUTIQUE TOKYO - Wednesday October 14th 2020: The doors of the new Ginza Boutique officially opened, unveiling the new Chronomaster Revival Lupin The Third – 2nd Edition and introducing Zenith Icons, a curated selection of restored vintage watches. The new Ginza location is Zenith’s first flagship boutique to showcase the brand’s new concept, placing storytelling as a central element and offering visitors multisensory experience by unfolding the unique tales of Zenith in new and interactive ways. Ideally situated on Namiki Street in Ginza district, Tokyo’s premier luxury shopping area, the Zenith boutique stands out with its atmosphere as well as the services it provides. Upon entering the boutique, warm neutral tones give way to a central blue element, stretching from the floor to the ceiling and backlit to evoke a starry night sky. Beyond discovering its watches and comprehensive assortment of limited and exclusive editions, the boutique’s “Story Bar” allows visitors to take a moment to relax and delve deeper into the Zenith universe, with videos about its most emblematic watches as well as the individuals from Zenith’s past and present that have made a lasting mark on the Manufacture. Even when the boutique is closed, visitors can launch the immersive 360-degree video experience that takes them on a journey through space and time to the Zenith Manufacture with historical figures such as its founder Georges-Favre Jacot and the saviour of the El Primero Charles Vermot, by simply scanning a symbol of the manufacture on the exterior windows of the boutique.
    [Show full text]
  • Manga Goes Global Jean-Marie Bouissou
    Manga goes global Jean-Marie Bouissou To cite this version: Jean-Marie Bouissou. Manga goes global. The global meaning of Japan, Mar 1998, United Kingdom. hal-01052943 HAL Id: hal-01052943 https://hal-sciencespo.archives-ouvertes.fr/hal-01052943 Submitted on 29 Jul 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MANGA GOES GLOBAL Jean-Marie Bouissou WITH SPECIAL REFERENCE TO OTOMO KATSUHIRO'S 'AKIRA' THIS PAPER WAS PRESENTED AT THE CONFERENCE "THE GLOBAL MEANING OF JAPAN", HELD AT THE UNIVERSITY OF SHEFFIELD ON MARCH 19-22, 1998. Unedited. Comments welcome. Abstract OTOMO Katsuhiro's Akira was published in Japan from 1982 to 1993. When translated into French (1991-1995), the eleven volumes serie was given an unusual first-class treatment - complete with colors and hard-cover. Its French publisher targeted well-educated high-income urbanites at a time when manga were still considered cheap stuff for children or semi-illiterate teenagers. The fact is that Akira is in a class of its own. It stands out as a highly sophisticated cultural object far away from the standard manga's violence and sex routine.
    [Show full text]
  • Greenberg, Raz. "Our Man, Lupin." Hayao Miyazaki: Exploring the Early Work of Japan’S Greatest Animator
    Greenberg, Raz. "Our Man, Lupin." Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. New York: Bloomsbury Academic, 2018. 51–76. Animation: Key Films/Filmmakers. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501335976.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 04:40 UTC. Copyright © Raz Greenberg 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. C h a p t e r 3 O UR M AN , L UPIN While Miyazaki was making his fi rst steps in the anime industry in the mid-1960s, just as this industry was beginning to grow and fi nd a larger audience in Japan and abroad, the manga industry was already booming and fi nding its way to new readers. A generation of post- war children who grew up reading comics was now starting its academic studies and entering the job market, and this generation expected comics to grow up as well—which they certainly did. Unlike the self- censorship that the American comics industry accepted upon itself in the 1950s through the Comics Code Authority in response to criticism of its content, Japanese publishers faced few restrictions.1 While children’s manga continued to thrive, adult readers soon found more than enough sophisticated stories of crime, sex, and politics on the shelves. One such adult title was Lupin III , drawn and written by artist Kazuhiko Kat ō who published his work under the pen- name Monkey Punch.
    [Show full text]