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Nele Noppe

Icarus Publishing · Last thoughts on Detergent Magma - 1 views

  • I believe I’ve done this before, but given some of the stuff I’ve been reading on forums and the like, I feel the need to once again address plagiarism and doujinshi, especially how the two are not related.
  • Yet how do Japanese artists and readers reconcile their rejection of plagiarism with the wanton copyright infringement observed in most doujinshi?  Well, plagiarism is only a subset of copyright infringement, one which seeks to obscure true authorship.  Parody doujinshi are derivative work, but there is no confusion over the originator of the characters and ideas, no attempt to hide the source.  And there is still an expectation that the expression is original, that what one sees in a doujinshi – the artistry, the craft, the performance – is honest and real.  Comic art is indeed a performance, the paper is its stage.  Sometimes, one might borrow other characters for his play, but one cannot scratch the name off the director’s chair and replace it with his own.
Nele Noppe

局所特徴量の照合による線画の部分的複製検出 - 0 views

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    Partial Copy Detection for Line Drawings by Local Feature Matching
Nele Noppe

Workshop on Popular Culture, Cultural Policy, and Cultural Discourse in East and Southe... - 0 views

  • Workshop on Popular Culture, Cultural Policy, and Cultural Discourse
    in East and Southeast Asia, June 1-2, 2009, the Hebrew University of
    Jerusalem

    The workshop on Popular Culture, Cultural Policy, and Cultural
    Discourse in East and Southeast Asia, will be held at the Hebrew
    University of Jerusalem, Israel. The purpose of this workshop is to
    conduct a comparative and multi-sited study of the emergence of the
    popular cultural industries of East and Southeast Asia, examine the
    corresponding cultural policies initiated by the various states in the
    region, and construct an empirically-plausible framework to examine
    related issues. The workshop will particularly focus on the cases of
    Chinese, Japanese, and Korean poplar cultures: their emergence,
    expansion to other markets in the region, and the discourse they
    create.

    Panel 1: Popular Culture, Regionalization, and the State
    1. Amitav Acharya, American University,
    "Culture, Regionalism and Southeast Asian Identity"
    2. Galia Press-Barnathan, the Hebrew University of Jerusalem
    "Does Popular Culture Matter to International Relations Scholars?
    Possible Links and Methodological Challenges"
    3. Nissim Otmazgin, the Hebrew University of Jerusalem
    "A Tail that Wags the Dog: Cultural Industry and Cultural Policy in East Asia"
    Commentator: Arie Kacowicz, the Hebrew University of Jerusalem

    Panel 2: Cultural Flows and Soft Power
    1. Chua Beng Huat, National University of Singapore
    "Delusional Desire: Soft Power and TV Dramas"
    2. Jean Marie Bouissou, Science-Po
    "From Niche Market to Hypermarkets: The Birth, Growth and Maturation
    of the French Manga Market"
    3. Eldad J. Pardo, the Hebrew University of Jerusalem
    "The Comeback of Iran's Z $B{ (Brkh $Bb (Bneh: Ancient Heroes in the Global Age"
    Commentator: Eyal Ben Ari, the Hebrew University of Jerusalem

    Panel 3: Cultural Policy in the Making
    1. Kozuka Souichirou, Sophia University
    "Copyright Law as a Tool of New Industrial Policy?: Japan's
    Unsuccessful Attempt to Promote its Contents Industry"
    2. Kukhee Choo, Tokyo University of Foreign Studies
    "Cool Japan Nation: Japanese Governmental Policy towards the Anime Industry"
    3. Jung-Yup Lee, University of Massachusetts, Amherst
    "Managing the Transnational, Governing the National:
    Cultural Policy and the Politics of "Cultural Archetype Project in South Korea"
    Commentator: Ehud Harari, the Hebrew University of Jerusalem

    Panel 4: Cultural Industry and Cultural Discourse
    1. Miki Daliot-Bul, Haifa University
    "The New 'Japan Brand': Cool Japan as Zeitgeist"
    2. Pang Laikwan, the Chinese University of Hong Kong
    "Censorship against Ghosts: China's Cultural Policy Historicized"
    3. Kwai Cheung Lo, Hong Kong Baptist University
    "Historical Tensions in East Asian Popular Culture and the Roles of the State"
    Commentator: Chua Beng Huat, National University of Singapore

    Panel 5: Cultural Production and Social Change
    1. Marwyn S. Samuels, the Hebrew University of Jerusalem
    "The Media Industry, Popular Culture and Social Change in Contemporary China"
    2. Shin Hyunjoon, Sungkonghoe University
    "Trans/National Cultural Industries as an Agency of Regionalization?
    The Case of South Korea"
    3. Cherian George, Nanyang Technological University
    "Silence and Protest in Singapore's Censorship Debates"
    Commentator: Nir Avieli, Ben-Gurion University

    Panel 6: A Comparative Perspective: Popular Culture in the Middle East
    1. Wael Abu-Uksa, the Hebrew University of Jerusalem
    "State and New Media in the Middle East: An Overview"
    2. Sariel Birnbaum, the Hebrew University of Jerusalem
    "Historical Audio-Visual Dramas: From Egyptian Dominance to a Pan-Arab
    Satellite Discourse"
    3. Tal Shenhav, the Hebrew University of Jerusalem
    "Broadcasting the Future Generation: Gender Messages for Women and
    Youth in Saudi Arabia, Jordan and Tunisia"

    Panel 7: Concluding Comments and Open Discussion
    Peter J. Katzenstein, Cornell University
    Eyal Ben Ari, the Hebrew University of Jerusalem


    For further information and registration please contact Dr. Nissim
    Otmazgin at nissimot@mscc.huji.ac.il

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