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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
Ariane Beldi

Psychanalyse du héros de manga - Manga news - 0 views

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    This advertises the publication of a study psychanalyzing the characters of several animes, which have been released in Europe for the last 30 years. This book is only in French for the moment.
Ariane Beldi

Rock legend Gene Simmons' son in manga plagiarism storm | CNNGo.com - 1 views

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    This is an additional ironic twist of fate. American pop music star copying Japanese mangas....when for decades, Japanese have been accused of copying everything that was coming from the West and being unable to create anything of their own. However, besides this anecdotic issue, this story points out another that is a lot more preoccupying, that is piracy and copyrights violation. From what I can see on the livejournal entry that offers a frame-by-frame comparison of Simmon's manga and Bleach, it does look like he has been heavily copying not only the graphic style but also the character design and whole scenes from Bleach. However, this doesn't really tell us how much Simmon actually took from Bleach, especially at the narrative level. Did he also heavily take from its story or did he simply inserted scenes that he found cool and inspiring within a fictional universe of his own? This isn't really clear from any of the comments. But then again, when one looks at the extraordinary resemblance between graphic design and characters from one manga to the other, it might also be difficult to accue him of plagiarism. After all, even though there is some diversity of representations in manga, it is kind of limited by some aesthetic codes. In the end, manga heroes within the same genres do tend to look extraordinarily alike to the point that it isn't rare to confuse them, if they are taken out of their original context.
Nele Noppe

Call for papers: The Blackwell Companion to the Historical Film - 0 views

  •   Call for Contributions         The Blackwell Companion to the Historical Film   Editors: Robert A Rosenstone, California Institute of Technology      Constantin Parvulescu, Washington University in St Louis The editors invite contributions to The Blackwell Companion to Historical Film, a volume of 25 to 30 essays devoted to the latest scholarship on the origins, contributions, history, range, codes, strategies, poetics, politics, tropes, production, packaging, and cultural impact of this important genre, the dramatic historical feature film. The Companion will be a major work which will survey the field as it exists today and also be suitable as a textbook for history-on-film and film-studies classes. The collection focuses only on feature films, and will include essays by both leading and emerging scholars in the fields of history, cinema studies, cultural studies, and other fields that have something to offer this inherently interdisciplinary topic.  Scholars such as Robert Burgoyne, Marcia Landy, and Catherine Portugues, Paula Rabinowitz, Alison Landsberg, Denise Youngblood, and Guy Westwell have already committed themselves to essays for the volume. We are currently seeking essays on particular topics, but scholars interested in contributing to the collection need not limit themselves to these themes but should feel free to suggest anything related to the genre of the historical film: •       American history (especially 18 and 19th centuries) on film •       African-American and American-Indian history on film •       Exile and diaspora historical films •       Cinematic adaptations of historical novels •       Minor histories and minor heroes on film •       The historical film and the national mythology (outside Europe) •       History on film and history on other media, including animation •       Production and marketing of historical films Those who wish to contribute should send a working title, a brief description of the proposed essay and a short bio to both editors: rr@hss.caltech.edu and ctparvulescu@gmail.com. Essays are to be between 8,000 and 10,000 words long; they will be due on March 1, 2011. Abstracts submission deadline: May 1, 2010. 
Ariane Beldi

ICv2 - A Second Bad Year in a Row for Manga - 1 views

  • Manga readers lack the “collector mentality” of comic book fans and also tend to be both young and tech savvy.  The fact that manga is “long-form” entertainment, with many series running to dozens of volumes (Naruto Vol. 48 is due out in June), even taking into account the fact that manga is very attractively priced compared with traditional American graphic novels, it is very expensive to collect the entire series in paper. 
    • Ariane Beldi
       
      Well, I'm not sure that manga readers lack the "collector mentality", since serialization is at the very basis of manga, but as pointed out later in the paragraph, collecting the 100+ volumes of Naruto or buying the 20+ boxes of its anime adaptation is probably out of reach for the younger wallets. Basically, the industry has tried to milk people a bit too much by producing over-extended narratives. Moreover, they might have over-estimated people's capacity to follow the same hero over decades. Only very few narratives have been able to achieve this feat.
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