The tatami galaxy amv everyday in my life is horrible
So I decided to guzzle as much of their library as I could over the year before my subscription ran out. But while I was consuming as much anime as I could before loosing access to it, I did manage to find some gems. So if you are going to pay for Funimation, here are the exclusives at the time of this post you should watch before your wallet comes to its senses. Starting things off on an awkward foot, this recommendation comes with a few strings attached. Fujiko Mine, as a character, is a fem fatale through and through.
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13 Greatest MADHOUSE Anime of all Time!
To browse Academia. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Giacomo Calorio. A short summary of this paper. PDF Pack. People also downloaded these PDFs. People also downloaded these free PDFs. Vecchi e nuovi luoghi comuni del e sul cinema giapponese contemporaneo, tra esotismo e autorappresentazioni [Old and New Commonplaces inside and around Contemporary Japanese Cinema, Between Exoticism and Self-Representations] by Giacomo Calorio.
Quasi come a occhio nudo. Teorie cinematografiche del realismo nel Giappone del dopoguerra, Postwar Japanese Film Theories, Rebellion and Despair. Download Download PDF. Translate PDF. In the preface to the English edition Yomota states that the direction we might take, should we try to provide an answer to the question, changes according to which word, «Japanese» or «Cinema» we choose to emphasize. When his survey reaches the recent past, the Japanese scholar describes the s as «an era of chaos».
Starting from these questions and affirmations, and combining them with others made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman and Mori Naoyuki, the following article attempts to explore a more specific doubt: what is contemporary Japanese cinema? In so doing, however, other questions arise, as we need to define when contemporaneity starts and what makes it different both from previous eras, and from the contemporaneity of other national cinemas.
The further we probe, the more complex our definition becomes. Keywords: contemporary Japanese cinema; Japanese film theory; visual culture, digital culture. Questions and coordinates The English title of a recent book about Japanese cinema by renowned film scholar Yomota Inuhiko Yomota [] reads: What is Japanese Cinema? In the preface to the English edition, Yomota states: «Japanese cinema» is made up of two words: «Japanese» and «cinema». For those who are interested in Japanese cinema, the choice of which of those words to emphasize makes a big difference in the direction of their explorations.
In fact, both are correct and both are necessary. Giacomo Calorio, University of Turin, Italy, giacomo. Questioning the answers, answering with questions, pp. Following a thorough examination of the history of Japanese cinema from such a perspective, and whilst addressing the contemporary era, Yomota writes: «The s was an era of chaos» Ibidem: Andrew Dorman also discusses contemporary Japanese cinema and its cultural specificity in his Paradoxical Jap- aneseness, an essay which focuses on cultural performance and concealment phe- nomena concerning Japanese cinema in a global context.
In the introduction, Dorman states: «Any film, in one way or another, is specific to the country that produces it. In the following pages, without any intention of celebrating the unicity of con- temporary Japanese cinema in support of whichever self-orientalist local ideology, I would like to delve into the matter and reflecting further on these quotations, and ask myself: how is contemporary Japanese cinema unique?
If we want to find an answer to this question, maybe we should first establish whether a difference does exist and whether it is significant enough, both in quantitative and qualita- tive terms in style, themes, essence… , to justify a break with the previous era of this national cinema.
I believe the arrival of Japanese cinema in a completely digital phase is a distinguishing feature, as has already been pointed out by Cana- dian film scholar Mitsuyo Wada-Marciano Underlying these questions is the ambition of exploring new frontiers, and of gauging the perimeter of our current image of Japanese Cinema Calorio , which is often fragmentary or anchored to the past.
The ultimate goal is to acknowl- edge its form, to question it, and to exhort the reader to look beyond its borders.
We should also consider the intrinsic permeability between ages, of course. Either way, if we want to draw a definitive dividing line between the last chapter of Japanese cinema, and what has happened since, I feel we should concede the very first years of the s, both the peak of what is considered the Nineties New Wave and transition period to a new era, and draw that line around Mori After the Wave It has been almost thirty years since the birth of what was hailed as the New Wave of the nineties or the fourth golden age of Japanese cinema Schil- ling ; Tomasi and Spagnoletti ; Novielli ; Richie ; Mes and Sharp ; Dalla Gassa and Tomasi ; Meale et al.
As we know, things played out differently, because, as Alexander Zahlten highlights, the apocalyptic story of the end of Japanese cinema was doomed to end during the upcoming nineties Zahlten That being said, in retrospect, even the last golden age of Japanese cinema can now be considered long over. After reaching its peak at the turn of the mil- lennium, its image abroad has since been fading. With few exceptions, in the fol- lowing years, its leading exponents such as Kitano Takeshi, Kurosawa Kiyoshi, Miike Takashi and Sono Sion failed to preserve the freshness of their begin- nings, despite having earned a consistent presence in major festivals.
Further- more, emerging directors from the Zero generation Mori ; Novielli and De Angelis ; Schilling were unable to replace their predecessors by developing a solid filmography that might otherwise have captured the imagi- nation of a worldwide audience.
This allowed Japanese cinema of the s and s to settle on a respectable average annual production with a large presence of genre cinema, about thirty or more already established directors1 and a number of promising and noteworthy newcomers2. Actually, the number of domestic Japanese films distributed did not revert to the disastrous levels of — compared to the relatively high standards of Japanese cinema history — when just Japanese films were produced: throughout the last two decades, an average of Japa- nese films per year have been produced, with peaks of and in and At the same time, Japanese cinema was able to take on a wide range of forms and genres aimed at different audiences.
This gave birth to a considerable number of auteurs both male and female, which previously had not been so ob- vious who, despite the lumbering presence of mainstream cinema and the lack of sufficiently effective forms of government support Gerow , strove to realize their personal idea of cinema, at times conforming to the system, at oth- ers openly opposing it.
It embraced avant-garde movements and directors who persevere on the path of tradition, masters and artisans of the past who stepped back into the limelight in their senior years, as well as a renewed interest in mil- itant documentary.
In addition to such a prosperous output, even if only in quantitative terms, and notwithstanding there having been alarming signals of homogenization of productive models, of genres, ideological… Osanai in the last de- cade, it is undeniable that the new millennium Japanese cinema has joined the in- ternational breeze of pluralism that was blowing in contemporary cinema.
Such conformity occurred to a greater extent than in the past and certainly links Jap- anese cinema to the global scene as well as to other national cinemas: although not to all of them, nor to the same extent or in the same ways. A Technological Question? Once the prerogative of a select few, it soon became a mass-operat- ed tool and it was succeeded by even more economic and user-friendly devices such as smartphones and tablets.
Bearing in mind the richness and the inner diversity that characterizes Japa- nese cinema production in recent decades, and equally avoiding any temptation to regard chronological coincidence exclusively in techno-deterministic terms, I believe it is safe to adopt the completion of the digital revolution as the turning point towards a new season, and then ask the following questions: what has the role of digital technology been and to what extent has it contributed towards this renewal process?
Which have been its most striking manifestations, and how have they changed our idea of Japanese cinema? While acknowledging the necessity for a global contextualization and perspective, have such manifesta- tions developed specific forms recognizable as being exclusively «Japanese»?
This is a pioneering work, which from the outset presents itself as an unavoidable starting point and interlocutor for my discourse. It allows me to overlook some relevant topics already analyzed ex- haustively by the author and focus on others that she chose to ignore or simply introduced as useful tips for further research Ibidem: While examining Japanese cinema in the digital age, Wada-Marciano shapes her analysis on the flourishing debate concerning the features of transnationality and cultural neutrality that supposedly characterized Japanese media production at the beginning of the new millennium.
Wada-Marciano chooses to articulate her own discourse beginning with the impact of IT on Japanese cinema and claims that the peculiarities of the cine- matic phenomena examined are suited to analysis in purely national terms as well.
This allowed, among other things, the larger scale emergence of phenom- ena that otherwise would be confined to the domestic context i. However, in this essay we are mostly concerned with the first one: «What has been the impact of digital production and distribution on cinema? It is equal- ly true that the lower costs, immediacy of use and technological convergence Jenkins have also changed Japanese cinema from within.
In this respect, it is undeni- able that the realistic approach mentioned by Wada-Marciano evokes highly rel- evant topics specific to the era of digital images, but the reader is left wondering whether the production of two of the three directors analyzed, Kawase Naomi and Koreeda Hirokazu, may be considered truly representative of Japanese cin- ema in the digital age, excluding their evident influence on the following gener- ation of directors.
In actual fact, the portion of their filmography which is most characterized by a direct relation with reality occurred between the eighties and the nineties, in a media environment that was still heavily analog. Besides, however relevant it may be, the realism of his approach in fictional cinema, which Wada-Marcia- no examines through a sequence of Dare mo shiranai Nobody Knows, , has become less radical and constant in his subsequent works.
It should be also noted that, if some of the most representative film-makers of the last three de- cades Dogma95, the Dardenne brothers, Jia Zhang-ke, Wang Bing, Lav Diaz, Nuri Bilge Ceylan, Brillante Mendoza… have expressed the tendency towards a rediscovered need for realism on a global scale, Japanese self-documentaries Hisashi are unlikely to be included among the most original forms of contemporary realism.
That said, we could perhaps take into consideration their diaristic, intimate and private dimension, which is easily identifiable with a far more ancient national literary tradition. In truth, even this aspect is not a unique case in the global cinema context, but it is significantly conspicuous to be criticized for its solipsism Nornes Japanese Cinema in the Digital Age?
If on the basis of the doubts expressed in the previous section the idea of «Jap- anese cinema in the digital age» formulated by Wada-Marciano appears albeit necessarily arbitrary, it highlights a very important issue: that is, how difficult it is to give an exhaustive image of contemporary cinema for this prolific nation. Moreover, the absence of a significant chronological distance confounds such a task.
Whilst every facet of the J-Horror episode is assiduously analyzed by the author, the remaining chapters focus on a few phenomena. They cite three or four important directors, as well as films or sequences.
Nevertheless, is it real- ly possible to understand such a huge production previously we mentioned an average of four hundred films from to in reference to a handful of sometimes minor cases?
It is certainly true that the films cited in the text, like many others, belong to the permeable and interconnected contemporary Asian and global context, to the extent that they would have been inconceivable, in such numbers, in the cohesive and almost asphyxial cinema landscape of the previous years.
I am not convinced, however, that they can equally be numbered among the most representative films of contemporary Japanese cinema. There is no doubt that they exemplify the contribution of IT and their ubiquitous features in the redefinition of cultural geographies. Nonetheless, is this peculiarity suf- ficient to justify the centrality of such films to the exclusion of others from the book?
For instance, if we cast a glance over the entire land- scape and consider the essence of Japanese cinema in the digital age, we are left wondering what happened to contemporary Japanese blockbusters. We shall now return to the time we chose as the starting point of contempo- raneity, and take as our example Kyashan Id. Like any modern science fiction film, this exemplar has incurred a heavy debt with CGI.
How was its aesthetics influenced by computer graphics, then, if compared to Hollywood superhero movies? Moreover, Kyashan is the live action adaptation of a well-known animated series from the seventies, and as the very phenom- enon of the cinematic translations of manga and anime, it may be considered one of the most representative manifestations of Japanese cinema in the s Novielli ; Joo et al.
In my opinion, the peculiarities that these films manifest compared to the co- eval US cinecomics ensures that they are worthy of analysis. However, what might seem a meagre percentage implies that on an aver- age of , there were at least fifteen comic-inspired Japanese films in and ; this number reached a peak of fifty-three comic adaptations in Of course, the function of these ephem- eral clusters of fields related to the cultural and entertainment industry, which temporarily gather around a plot or a character, may be seen to resemble that of the American media conglomerates.
That being said, there are significant dif- ferences Joo et al. Their extension to the cin- ema sector played a vital role in molding and homogenizing the identity and image of contemporary Japanese cinema Yomota []: Neverthe- less, the discourse surrounding the collaborative work ethic of cinema, manga and digital technology the latter being, «a formidable instrument of improve- ment and expansion of the intermedia geography of cinema», Zecca 51 in an age when the manipulation of images has almost transformed cinema into a «sub-genre of painting» Manovich a: , does not solely concern the acquisition of narrative contents.
However far-reaching this phenomenon may be, its significance has been relatively overlooked in the field of Japanese cinema studies, even though it stands out for its sheer magnitude and consequently, in my opinion, ranks highly among the many examples of Japanese cinema in the digital age. In some notable cases, e. This approach contrasts markedly with fantasy and science-fiction cinema whose use of CGI is aimed at pursuing «the mimesis of our own imag- ination» Belting through a photorealistic aesthetic.
We might further consider the affect a DV camera bears on pho- tography and sound in a work like Aragane by Oda Kaori Id. Deeper into the plural At this point, great is the temptation to broaden our gaze. In this respect, an essay which explores Japanese cinema from such a perspective would be incomplete without mention of such films that establish transmedia and intermedia relationships with the digital culture on every imaginable lev- el.
My 50 Favorite Anime
Unlike Saitama, who is an adult and has his own mind made up as to how he should live his life, Mob is only a kid struggling to find balance with inner struggles. Mob Psycho is about Shigeo Kageyama, or Mob which apparently means background character. Mob is a simple young student in middle school who is average or a little below average in his grades, athletic abilities, social life, and just about everything. He dreams to be normal and even a little popular at school.
Sight – the shot composition
No account yet? Registering is free , easy , and private. Discuss in the forum, contribute to the Encyclopedia, build your own MyAnime lists, and more. Game Reviews Columns incl. Industry Comments Advertorials. Goal to the Future Lycoris Recoil Teppen—!!!! Login or Register forgot it? Nice artwork and action animation.
Stealth Pun
Reviews are sorted by rating in descending order. Death Note. End of Evangelion. My Little Pony.
Myanimelist
Action is awesome, romance is sweet, but when it comes to making you think nothing beats psychological anime. These top psychological anime will turn your perception of anime upside down. Prepare to have your mind blown. Not all thrillers and horror tales need cheap tricks like jump scares to be effective. Some anime achieve that eerie unsettling feeling by affecting your mind instead of your heart rate.
10 Lesser-Known Anime You Should Watch Right Now
The novelist John Gardner once said that every story comes out of one of just two basic plots. The first is when somebody leaves home and goes on a journey. The second is when a stranger comes to town and changes the lives of the inhabitants forever. The Squid Girl universe, minus Squid Girl, is an exercise in patience. While Squid Girl was terrorizing those around her, we wanted nothing more than for her to lighten up a bit, to leave them in peace. Through the duration of the series when the spotlight was on Squid Girl, I wanted to see much more character development about the Aizawa family — what is the cause of their unusual family unit? Have they gone through hard times? But once Squid Girl entered their lives, they changed.
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Planetes works perfectly well as a very human character drama with a creative setting, but its uniquely realistic approach to worldbuilding also means it builds into a genuinely furious salvo against the ways the theoretically democratizing allure of space ultimately reflects all of our petty, violent, long-ingrained class struggles. Planetes presents the true war of the future on every scale; the war for resources, the war for opportunity, the war to rally against economic inevitability with human indomitability. Cowboy Bebop. Its direction is fluid and assured, its stories are incredibly varied and regularly poignant, and its characters are as iconic as they are relatable.
Also, please note that these reviews are based on the first episode only! On the upside, I definitely have my finger on the pulse more than usual this season after writing all this! B ones is juggling three anime this season, but Captain Earth is probably their flagship! More than just the dress code, it also seems to have picked story elements from these forbears — especially Eureka 7. The main character is in a similar place to Renton — disillusioned with school life and not having a whole heap of fun with the not having a dad thing. Combine this with a childhood complicated by mecha anime plotlines ala Eureka 7 Ao, and Captain Earth almost feels like a sequel.
November , at the Oregon Convention Center. App: Now available! Use the free Guidebook app for Android and iOS. This app contains a live-updating Kumoricon schedule, maps, photos, convention information, announcements, and more. Mark events to create a personalized schedule with reminders.
Photo courtesy and copyright MGM Television. As for those who have yet to see Subversion — I promise not to let slip any spoilers within the body of these entries. But, just in case, steer clear of the comments section.
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The website is superb, but it feels like something needs to be tweaked.